Mp•,>?*>v■~'■^•r■Vr'^■'^<N?,■:>inv.-^.,~ 


LIBRARY 

THE  UNIVERSITY 
OF  CALIFORNIA 

SANTA  BARBARA 

PRESENTED  BY 

MRS.  GEORGE  CLIFFORD 


u^ 


2    H 


PRODUCING  IN  LITTLE 
THEATERS 


BY 


CLARENCE  STRATTON 


NEW  YORK 
HENRY  HOLT  AND  COMPANY 


COPYRtGHT.    I9ai 

BY 

HENRY  HOLT  AND  COMPANY 


Published   October,    1921 
Second    Printing,  June,    1922 
Third  Printing,  February,  1923 
Fourth  Printing,  NoTcmber,  1923 

Fifth  Printing,  October,   1926 


rniNTEO    IN    THE    U.  8.  A.  BY 

tCI)t  Cuinn   &  gobtn   ComPBiti* 

BOOK       MANUFACTURERS 
RAHWAY  NEW     JERSEY 


UNIVERSTTV  OF  r^  ^  T  tt-qr 
SANTA  BARUARA 


Quella  milizia  del 
Celeste  regno. 

Dante 


PREFATORY  NOTE 

In  gathering  material  and  illustrations  for  this  volume 
I  have  applied  to  a  great  many  active  workers  in  little 
theater  productions  in  all  parts  of  the  country  and  have 
secured  information  which  I  hope  I  have  adequately  repre- 
sented in  the  text,  and  received  hundreds  of  photographs. 

I  regret  that  more  of  these  could  not  be  included  as  illus- 
trations. I  desire  to  acknowledge  my  indebtedness  and  to 
express  my  thanks  to  Miss  Alice  Gerstenberg ;  to  Miss 
Neelye  Dickson  of  the  Community  Theater  at  Hollywood, 
California;  to  Miss  Alice  Bough  ton  of  New  York;  to  Miss 
Hallie  Gelbart  of  Hartford;  to  Mrs.  Arthur  Aldis  of  Lake 
Forest,  Illinois;  to  Mr.  Samuel  A.  Eliot,  Jr.,  of  Smith  Col- 
lege; to  Mr,  Daniel  Quirk  of  the  Ypsilanti,  Michigan, 
Players;  to  Mr.  T.  Kajiwara  of  Saint  Louis;  to  Professor 
A.  M.  Drummond  of  Cornell;  to  Mr.  Charles  Rann  Ken- 
nedy; to  Mr.  Boyd  Martin  of  the  University  af  Louisville; 
to  Mr.  John  Steinke  of  Cleveland;  to  Mr.  Thomas  Wood 
Stevens  of  Carnegie  Institute,  Pittsburgh;  to  Mr.  William 
Ziegler  Nourse  of  Chicago;  to  Fakes,  Bisbee,  and  Robert- 
son, interior  decorators,  of  New  York ;  to  the  Yale  Dramatic 
Association;  to  Mr.  Eugene  O'Neill;  to  the  Provincetown 
Theater;  to  Mr.  C.  Raymond  Jonson  of  Chicago;  to  Mr. 
Glenn  Hughes  of  the  University  of  Washington;  to  Mr. 
Frederick  H.  Koch  of  the  University  of  North  Carolina; 
to  the  Stuyvesant  Players  of  New  York ;  to  the  College  Club 
of  Cleveland;  to  the  Little  Theater  of  Denver. 

Cleveland,  192  i 

y 


CONTENTS 

CHAPTER  PAGE 

I.    Growing  Interest   in   Dramatic   Produc- 
tions    I 

II.    Organizing  an  Amateur  Group  ....  5 

III.  Choosing  the  Play 23 

IV.  Some  Specimen  Programs       .....  46 
V.    Rehearsing  the  Play 64 

VI.    Artistic  Amateur  Settings 90 

VII.     Creating  the  Stage  Picture      ....  108 

VIII.     Costumes  and  Make-Up 135 

IX.    Lighting 150 

X.    Experimenting 176 

XI.    Educational  Dramatics 197 

Appendix — 

Two  Hundred  Plays  Suitable  for  Amateurs: 

A.  One  Hundred  Full-Length  Plays  .      .  227 

B.  One  Hundred  One- Act  Plays     .     .     .  238 

Index 239 


LIST  OF  ILLUSTRATIONS 

THE  MAN  OF  DESTINY Frontispiece 

PAGE 

BOUND     EAST     FOR     CARDIFF.      The     Provincetown 

Wharf  Theater 6 

Rehearsal  of  THIRST 6 

Rehearsal  at  University  of  Louisville 7 

Rehearsal  of  THE  POT  BOILER 7 

Little   Theaters   in   Ypsilanti,    Cleveland,   New  York    State 

Fair,  Los  Angeles jg 

THE   PACKAGE  FROM   LEXINGTON.     University   of 

Louisville jq 

GREEN  STOCKINGS ip 

THE  EMPEROR  JONES.    Provincetown  Theater     .       .  38 

Artists'  Guild. 

TENTS  OF  THE  ARABS 39 

A  GOOD  BARGAIN 39 

Design  for  a  room cq 

THE  BEGGAR'S  OPERA.    Lyric  Theater    ....  51 

Hammersmith. 

THE  RIVALS ^i 

FALSE  GODS.     Smith  College 54 

ATALANTA  IN  CALYDON.    Carnegie  Institute      .       .  55 

ANTIGONE.     Bennett  School 66 

THE  FOOL  FROM  THE  HILLS 66 

THE  MERCHANT  OF  VENICE.     Smith  College       .       .  67 

Models  of  Scenery,  Central  High  School,  St.  Louis     .       .  86 


LIST  OF  ILLUSTRATIONS 

PAGE 

BUSHIDO.     Wells  College 87 

LE  MALADE  IMAGINAIRE 87 

Rear  of   scenery 100 

THE  SHEPHERD  IN  THE  DISTANCE.    Little  Theater, 

Denver 98 

Smith  College 98 

Scenery  designs. 

THE  PRETTY  SABINE  WOMEN  ....  99 

THE  MAKER  OF  DREAMS 99 

Various  shapes  of  interiors 104 

Interior  of  room.     Combination  of  pieces        ....  105 

THE  BRACELET.     Cornell  Dramatic  Club   ....  118 

DREAM  BOATS.     College  Club,  Cleveland   ....  118 

INTERIOR.     Community  Theater,  Hollywood       .       .       .  119 

Cottage  interior  with  sloping  ceiling 122 

POMANDER  WALK.     Central  High  School,  Washington  130 

PIERROT'S  CHRISTMAS.    The  Artists'  Guild,  St.  Louis  I34 

PRUNELLA.     University  of  Washington       .       .       .       .131 
THE  CHINESE  LANTERN.     Central   High   School,   St. 

Louis 135 

QUALITY  STREET.    Hathaway-Brown  School,  Cleveland  150 

ROSALIND.     Hickox  Studio,  Chicago 150 

THE  STORM.    Hickox  Studio,  Chicago 151 

EVERYBODY'S  HUSBAND 151 

Lighting  arrangement  for  THE  CHINESE  LANTERN   .  155 

THE  AULIS  DIFFICULTY.    Yale  Dramatic  Association  162 
THE  DARK  LADY  OF  THE   SONNETS.     The  Play- 
House,  Lake  Forest 166 

THE  LADY  WITH  THE  DAGGER.     Community  The- 
ater, Hollywood 163 

THE  LOCKED  CHEST.     Little  Theater.  Denver       .       .  180 
THE  BEAR.     Stuyvesant  Players,  New  York       .       .       .174 


LIST  OF  ILLUSTRATIONS 

PAGE 

PAN.     The  Playhouse,  Cleveland i8i 

THE  CLOD.    The  Players,  Ypsilanti 196 

LOVE  IN  A  KITCHEN 196 

BERNICE.     Provincetown  Theater,  New  York   .       ,       .197 

THE  GAME  OF  CHESS.     Arts  Club,  Chicago  ...  198 

DUST  OF  THE  ROAD 198 

DOD  CAST  YE  BOTH.     University  of  North  Carolina  .  199 

PEGGY                   igg 

MRS.    PAT   AND   THE   LAW.     The   Play-House,   Lake 

Forest 210 

ALICE  IN  WONDERLAND.    The  Playhouse,  Chicago  .  211 


PRODUCING  IN  LITTLE 
THEATERS 


CHAPTER  I 

GROWING  INTEREST  IN  DRAMATIC 
PRODUCTIONS 

There  is  no  doubt  that  during  the  next  few  years  there 
will  be  more  participation  throughout  the  United  States  in 
amateur  dramatics  than  ever  before.  Even  before  the  war 
had  drawn  its  thousands  of  men  and  women  from  regular 
life  there  were  indications  of  a  wide  spreading  of  dramatic 
interest.  Every  elementary  and  secondary  school  presented 
plays.  Courses  in  dramatics  and  play  production  were 
being  introduced  into  nearly  every  college  and  university. 
Even  churches  were  engaging  in  dramatic  activities;  some 
timidly  venturing  no  further  than  religious  drama;  otliers 
quite  frankly  providing  entertainment  by  offering  plays 
of  many  different  kinds.  It  is  reported  that  there  are  some 
ten  thousand  acting  groups  connected  with  churches.  The 
community  idea  of  entertainment  and  recreation  was  widen- 
ing to  include  acting  as  an  attractive  pursuit. 

The  period  of  seeming  inactivity  during  the  war  did  not 
block  the  attempts  of  enthusiasts ;  in  all  likelihood  it  stimu- 
lated the  determination  to  produce  plays,   for  wherever 


2  PRODUCING  IN  LITTLE  THEATERS 

bodies  of  men  were  in  training  or  service,  entertainments 
of  all  kinds  were  demanded  and  supplied,  often  in  forms 
new  and  fascinating  to  dwellers  of  regions  where  similar 
performances  were  unknown.  As  thousands  of  these  men 
and  women  were  initiated  by  force  of  circumstances  into 
the  process  of  providing  dramatic  material,  as  many  of  them 
were  even  drafted  as  performers,  they  learned  a  few  rudi- 
ments of  the  attractive  art  which  they  have  been  exercising 
since  they  have  returned  to  their  former  pursuits.  Many 
of  them,  living  in  sequestered  villages  or  rural  districts 
where  no  attempt  has  ever  been  made  to  provide  dramatic 
fare,  have  enthusiastically  set  about  supplying  the  lack  by 
producing  plays  themselves. 

In  larger  centers,  likewise,  this  impulse  to  produce  plays 
has  not  died  because  of  absence  of  opportunity.  From  one 
phase  of  the  War  Camp  Community  Service  has  developed 
a  Committee  on  Memorials,  one  of  whose  laudable  efforts 
is  to  induce  communities  to  build  worthy,  living  reminders 
of  their  heroic  dead;  to  erect  attractive  buildings  in  which 
all  noble  civic  and  social  interests  may  be  fostered.  Nearly 
every  building  plan  recommended  by  this  committee  con- 
tains an  auditorium  with  a  practicable  stage.  Every  effort 
of  this  efficient  service  is  being  directed  to  helping  architects 
and  builders  to  make  that  stage  and  that  audience  space 
available  for  all  possible  uses — including,  as  not  the  least, 
the  production  of  plays.  The  number  of  such  community 
centers  increases  so  rapidly  that  any  figures  quoted  here 
would  be  insignificant  when  compared  with  actuality.  No 
matter  how  high  the  estimate  might  be  placed,  while  the 
statement  was  being  read,  the  exaggeration  would  end,  for 


INTEREST  IN  DRAMATIC  PRODUCTIONS       3 

the  number  of  completed  and  projected  memorials  would 
have  passed  that  total.  Soon  almost  countless  localities  in 
this  country  will  have  houses  in  which  good  plays  can  be 
adequately  rehearsed  and  performed.  Then  will  drama,  now 
restricted  to  so  few  cities  and  towns  because  of  long  runs, 
increased  railroad  charges,  and  the  growing  dislike  of  the 
best  performers  to  undergo  the  discomforts  of  travel  and 
the  uncertainty  of  reception  by  inexperienced  audiences, 
spread  to  nearly  every  part  of  the  land  to  entertain,  edu- 
cate, and  stimulate  people  in  ways  which  no  other  human 
agencies  can  ever  equal. 

Cities  with  playgrounds,  and  open-air  theaters,  workshop 
and  laboratory  playhouses,  public  and  private  schools  with 
usually  badly  constructed  stages  but  surprisingly  good  per- 
formances, societies  of  all  sorts,  are  inducing  many-sided 
participation  in  dramatics. 

From  all  parts  of  the  United  States  come  reports  of  seri- 
ous undertakings.  From  all  parts  come  requests  for  lists 
of  plays,  addresses  of  supply  houses,  methods  of  rehears- 
ing, designs  for  settings.  One  publisher  of  plays  reports 
that  his  mail  business  in  the  Southwest  equals  his  entire 
demand  of  a  few  years  ago.  A  professional  scenery  builder 
sends  each  year  a  representative  through  several  states  to 
design  stage  settings  in  schools  and  other  buildings  contem- 
plated or  being  erected.  Orders  for  stage  equipment  in  a 
city  of  Florida  are  filled  in  a  shop  as  far  away  as  Saint 
Louis.  Costumes  for  a  historical  drama  have  been  shipped 
from  Philadelphia  to  a  town  in  Texas. 

Linked  with  such  material  progress  are  appeals  for  meth- 
ods to  follow  in  organizing  and  managing  amateur  dramatic 


4         PRODUCING  IN  LITTLE  THEATERS 

societies.  This  indicates  a  sane  procedure,  for  many  a 
society  with  every  other  factor  operating  for  its  success 
has  hesitated  or  failed  because  of  defects  in  preliminary 
organization  or  in  regular  control.  Others  begin  under  the 
most  propitious  auspices  imaginable,  only  to  meet  wreck 
and  ruin  from  incompetence  or  impracticableness  which  is 
entirely  unforeseen  at  the  time  of  the  sanguine  but  badly 
managed  organization. 

The  annals  of  amateur  play  production  are  crammed  with 
weird  stories  of  eruptions  and  disruptions. 


CHAPTER  II 
ORGANIZING  AN  AMATEUR  GROUP 

Organized  effort  does  not  mean  necessarily  affiliation 
with  a  large  movement.  Your  dramatics  may  be  purely 
local.  Perhaps  in  most  communities  this  is  best.  Then  the 
performances  will  be  sources  of  local  pride.  The  enthusiasm 
will  be  spontaneous  and  concentrated.  The  lessons  learned 
from  defects  and  merits  may  be  applied  to  local  conditions 
at  once.  And  above  all,  such  an  arrangement  should  arouse 
a  valuable  sense  of  loyalty.  Frequently,  movements  spread 
widely  over  the  entire  country  waste  upon  "  causes  "  or 
"  ideals  "  energy  which  should  go  into  actual  dramatic  pro- 
ductions. The  wrangling  about  policies,  and  more  powerful 
still  as  a  bone  of  contention,  the  collection  of  assessments 
and  the  disbursement  of  funds,  consume  time  and  atten- 
tion which  is  necessarily  taken  from  the  stated  and  sup- 
posedly intended  purpose  of  the  organization  to  be  busied 
with  play  production. 

Such  large  projects  as  community  masques  and  pageants, 
m.unicipal  operas  and  plays,  patriotic  spectacles  and  cele- 
brations, which  because  of  their  magnitude  and  temporary 
enthusiasm  present  phases  of  organization  not  likely  to  con- 
front the  average  amateur  society,  will  be  disregarded  here, 

A  few  other  declarations  of  fact  will  further  prepare  for 
the  practical  details  which  this  section  will  attempt  to  offer 
as  help  in  arranging  for  dramatics  in  your  own  locality. 

5 


6         PRODUCING  IN  LITTLE  THEATERS 

It  is  not  expected  that  amateur  performances  will  replace 
the  regular  professional  theater.  They  will  merely  supple- 
ment it.  They  will  result  in  increased  attendance  at  pro- 
fessional plays. 

Amateur  acting  societies  will  never  be  able  to  include  all 
the  inhabitants  of  any  one  locality  in  a  performance.  If 
such  an  imdesirable  thing  occurred  who  would  remain  to 
constitute  the  audience?  To  accomplish  such  a  result,  even 
were  it  possible,  would  be  the  reductio  ad  absurdum  of  act- 
ing. Think,  too,  of  the  level  of  acting  in  such  a  dispersion 
of  the  mimetic  art.  Certain  groups  of  people  will  always 
want  to  act.  Other  larger  groups  will  always  want  to  look 
on.  These  two — the  active  and  the  passive — merely  need 
to  be  drawn  closely  together. 

Producing  plays  always  entails  a  great  deal  of  continu- 
ous hard  work.  This  fact  is  fundamental,  though  many 
persons  seem  to  disregard  it  whenever  acting  is  discussed. 
Some  persons  exclaim  enthusiastically,  "  Let's  give  a  play," 
and  then  fold  their  hands  complacently,  as  though  they  ex- 
pected the  play  to  produce  itself. 

Performances  cannot  be  given  without  expense. 

Let  us  now  consider  some  of  the  details  involved  in  dra- 
matic ventures. 

What  shall  your  organization  be  called?  The  name  you 
choose  should  suggest  the  nature  of  your  attempt.  There- 
fore you  must  consider  very  carefully  exactly  what  you 
are  going  to  attempt.  Have  you  any  special  purpose?  Can 
you  expect  to  interest  large  and  fluctuating  bodies  of  in- 
dividuals in  a  narrow  or  propaganda  purpose?  The  name 
should  be  modest  rather  than  pretentious,  impressive  rather 


Plays   by    Eugene   O'Neill,   Wharf   Theater,    Province- 
town. 

Above  :     Boniid  East  for  Cardiff. 


Below:  Rehearsal  of  Thirst.  In  performance  the  sky, 
without  a  wrinkle,  met  the  water  in  a,  perfect 
horizon. 


Rehearsals 


Above.     Scene   shifting,   The  Work    Shop,   University 

of  Louisville.  

Below :     The  Pot  Boiler,  by  Alice  Gcrstenberg.     The 

corner  of  a  large  theater  stage. 


ORGANIZING  AN  AMATEUR  GROUP        7 

than  high-sounding.  What  would  people  expect  of  a  So- 
ciety for  the  Improvement  of  Dramatic  Art  in  America? 
Its  name  would  pledge  it  to  a  program  almost  impossible  of 
inauguration.  What  will  improve  "  dramatic  art  in  Amer- 
ica "?  Could  all  its  members  agree  upon  methods  of  "  im- 
provement "?  It  would  be  valuable  to  examine  the  pro- 
grams of  an  organization  laboring  under  such  a  name,  read 
printed  reviews  of  its  productions,  and  learn  how  long  it 
continued  to  exist.  In  all  things  dramatic,  failures  are  as 
helpful  to  workers  as  are  successes.  The  name  should  con- 
note stage-craft  without,  however,  binding  to  rigidity  an 
organization  needing  fluxion  and  adaptability.  It  should 
not  antagonize  audiences.  It  should  not  state  purposes 
which  it  cannot  carry  out.  If  you  cannot  find  some  ex- 
pression to  answer  to  all  these  requirements  you  can  get 
along  just  as  well  by  using  your  local  name  and  christening 
the  group  the  Pittsburgh  Players,  the  South  Bend  Dramatic 
Club,  the  Alameda  Acting  Association. 

Do  not  merely  adopt  the  name  of  some  other  club.  Cer- 
tain groups  have  tried  to  win  patronage  by  calling  them- 
selves Neighborhood  Players  after  one  excellent  association 
in  New  York  even  though  their  members  are  not  connected 
with  any  Neighborhood  House,  serve  no  limited  section, 
and  draw  from  no  localized  vicinity.  Little  Theaters  might 
Just  as  well  be  definitely  identified  also.  Toy  Theater  Com- 
panies suffer  slightly  from  the  suggestion  of  trifling  con- 
noted by  the  name.  It  would  be  incongruous  to  see  Electra 
or  Ghosts  or  Justice  or  Dregs  in  a  toy  theater.  Exclusive 
groups  should  not  be  labeled  Community  Theater  com- 
panies.   That  word  should  be  reserved  for  true  community 


8         PRODUCING  IN  LITTLE  THEATERS 

endeavors.  Would  any  one  expect  a  Comedy  Club  to  pre- 
sent tragedies  or  even  such  a  somber  play  as  The  Girl  in  the 
Coffin?  The  attractive  equipment  of  the  quaintly  named 
Portmanteau  Theater  lost  much  of  its  significance  and  the 
value  of  its  name  when  the  paraphernalia  was  set  upon  the 
stage  of  a  large  professional  theater.  Such  placement  con- 
fined to  a  small  space  action  which  could  have  been  with 
more  effect  spread  over  the  full  stage.  It  inserted  its  own 
restricted  hangings  where  wider  sweeps  were  desirable  and 
available.  It  was  at  least  unnecessary,  even  if  not  entirely 
inappropriate.  "  MacDougall's  Barn  "  was  a  good  name 
so  long  as  plays  were  performed  in  a  barn  or  some  other 
crude  interior,  but  the  name  seemed  banal  or  worthless 
when  the  bill  was  transferred  for  an  evening  to  the  Cohan 
and  Harris  Theater  in  New  York. 

The  well-deserved  success  of  the  New  York  Theater  Guild 
has  already  induced  two  other  cities  to  use  that  fitting  ap- 
pellation. Laboratory  theaters  may  well  be  limited  to  the 
actual  classrooms  of  college  courses.  Workshop  theaters 
and  theater  workshops  seem  to  place  more  emphasis  upon 
experiment  than  performance,  causing  a  reflex  apathy  in 
audiences.  Would  a  group  called  The  New  Players  dare 
to  produce  an  old  Greek  drama,  even  Lysistrata,  the  theme 
of  which  is  as  modern  as  the  play  is  old? 

Many  groups  are  already  happily  denominated.  This 
list  may  suggest  some  similar  expression  as  suitable  for 
yours.  The  Mask  and  Wig  Club,  Sock  and  Buskin,  Paint 
and  Powder,  Triangle  Club,  Hasty  Pudding,  Talma  Club, 
Plays  and  Players,  Philistine  Players,  East-West  Players, 
Little  Country  Theater,  Vagabond  Theater^  Campus  Thea- 


ORGANIZING  AN  AMATEUR  GROUP        9 

ter,  Harlequin  Players,  Studio  Players,  Caravan  Theater, 
Arts  and  Crafts,  Art  Theater,  Prairie  Players,  Junior  Play- 
ers, Temple  Players,  Independent  Theater,  Pioneer  Players, 
Thimble  Theater,  Everyman  Theater. 

Your  choice  of  name  should  depend  also  upon  the  pur- 
pose of  your  society. 

Do  not  start  out  with  the  avowed  intention  of  reform- 
ing the  American  drama.  Attempt  something  you  will  be 
likely  in  some  degree  to  accomplish.  If  you  intend  merely 
to  present  plays  without  limiting  your  efforts  to  any  one 
kind,  and  sincerely  try  to  present  them  well,  this  is  not  an 
insignificant  ambition.  Better  purposes  are  to  provide 
performances  of  distinctive  dramas  not  likely  to  appear 
upon  the  professional  stage,  to  develop  the  acting  ability  of 
members,  and  to  respond  to  a  growing  demand  for  the  best 
dramatic  literature  of  all  times  and  languages.  Any  organ- 
ization pledged  to  this  last  deserves  every  measure  of  suc- 
cess, for  it  will  be  satisfying  a  natural,  worthy  need.  Best 
of  all,  its  audience  is  now  ready  and  waiting  for  it. 

In  actual  organization  the  society  may  be  a  small  acting 
group.  In  such  cases  the  advantages  are  that  the  few  mem- 
bers secure  continuous  training  in  rehearsal  and  perform- 
ance. They  have  many  chances  to  experiment  with  individ- 
ualistic interpretations.  As  the  season  progresses  it  is  fair 
to  believe  that  they  will  advance  markedly  in  stage  behavior 
and  characterization.  Working  together,  they  will  soon  de- 
velop a  sense  of  artistic  cooperation,  and  if  they  can  stifle 
in  themselves  the  temperamental  desire  for  personal  glori- 
fication, they  should  be  able  to  offer  harmonious  produc- 
tions.    If  the  natural  disposition  to  "  stardom "  can  be 


10       PRODUCING  IN  LITTLE  THEATERS 

neutralized,  so  that  the  performer  of  the  lead  in  one  pro- 
duction will  be  content  to  sink  to  a  minor  rule  in  the  next, 
there  should  result  a  harmony  of  acting  as  well  as  harmony 
of  temperaments.  In  such  a  restricted  group  of  actors 
there  is  always  the  tendency  to  crystallize  into  type  roles, 
making  it  almost  impossible  for  the  director  to  change 
conditions.  Amateurs  know  the  composition  of  profes- 
sional companies,  and  will  try  to  reproduce  that  arrangement 
for   themselves. 

On  the  other  hand  there  is  another  danger,  for  the  audi- 
ence may  become  tired  of  seeing  so  frequently  the  same 
performers  in  the  different  casts,  no  matter  how  well  they 
act.  Professional  stock  companies  produce  this  same  im- 
pression of  monotony.  Many  a  spectator  of  every  season's 
bills  has  sighed  inwardly  as  he  glanced  at  his  program, 
"Oh,  they  use  her  in  everything!  "  In  one  such  group  a 
certain  woman  was  allowed  to  monopolize  all  the  leads.  No 
longer  young,  she  was  manifestly  unsuited  to  most  of  the 
roles.  Her  best  experience  had  been  gained  in  old-fashioned 
poetic  drama,  so  that  in  modern  situations  she  was  decid- 
edly out  of  the  pictures.  Having  been  accustomed  to  don 
costumes  of  the  past,  she  paid  little  attention  to  the  essen- 
tially feminine  art  of  making  a  good  appearance,  and  there- 
fore was  never  able  in  modern  plays  to  "  dress  the  part." 
But  she  was  the  best  memorizer  of  the  group,  the  most  will- 
ing, the  hardest  worker,  so  she  became  the  most  prominent, 
even  though  her  presence  spoiled  many  a  performance.  A 
compromise  which  will  produce  the  best  results  from  a 
small  group  is  to  have  it  large  enough  to  allow  telling  variety 
in  combinations,  and  then  insisting  upon  the  variety. 


ORGANIZING  AN  AMATEUR  GROUP       ii 

A  large  group  in  which  any  person  may  be  called  upon 
to  participate  frequently  also  has  peculiar  dangers.  If 
some  members  are  not  used  often  enough  to  please  them- 
selves or  their  friends,  they  see  no  reason  for  belonging; 
they  lose  interest  and  withdraw.  To  offset  this  feeling  of 
non-participation  a  director  must  try  to  include  as  many 
members  as  possible.  It  is  a  matter  of  pride  with  nearly 
every  such  large  organization  to  accomplish  this.  At  the 
end  of  a  season  a  company  tries  to  prove  its  communism  of 
effort  by  recapitulating  the  use  made  of  its  personnel.  Such 
modest  declarations  of  self-congratulation  as  the  following 
paraphrased  from  an  annual  statement  are  frequent:  "  A 
total  of  eighty-eight  people  have  assisted  with  the  music, 
properties,  costumes,  direction,  dancing,  programs,  advertis- 
ing, business  management,  and  sale  of  tickets.  Of  this 
number  forty-six  have  not  acted  in  the  plays.  One  hundred 
eighteen  different  persons  acted.  Of  this  number  one  ap- 
peared five  times,  two  others  four  times,  and  twenty-six 
have  appeared  twice.  Thus  a  total  of  one  hundred  sixty- 
four  contributed  to  the  efforts  of  this  organization  in  a  single 
year." 

If,  because  of  ability  or  friendship  or  social  prestige,  a 
certain  few  are  cast  several  times,  jealousies  and  envy  and 
all  imcharitableness  break  out  virulently, 

A  good  flexible  working  arrangement  is  to  have  active 
and  associate  memberships  with  the  prospect  of  adding  to 
both,  or  making  transfers,  as  the  need  arises.  Every  society 
should  determine  for  itself  exactly  what  differences  of  stand- 
ing, privilege,  voting,  dues,  tickets,  tenure  of  office,  shall  dis- 
tinguish active  from  passive  membership. 


12       PRODUCING  IN  LITTLE  THEATERS 

When  membership  is  assured  the  usual  officers  of  any 
organization  should  be  elected.    To  these  must  be  added  a 
staff  of  workers  and  directors,  each  a  specialist  or  a  student 
of  a  peculiar  activity.     Most  important  of  all  will  be  the 
producer,  the  person  directly  and  personally  responsible  for 
the  working  out  of  the  details  of  any  project  from  the  time 
a  play  is  selected  until  the  curtain  descends  upon  its  per- 
formance.    In  some  organizations  this  official  is  the  mem- 
ber best  fitted  for  this  work.    In  this  case  he  may  be  elected, 
or  appointed  to  do  the  work  for  an  entire  season.     Some- 
times he  is  a  professional  hired  in  a  business-like  manner 
upon  a  formal  contract,  and  retained  only  so  long  as  his 
services  suit  his  employers.     A  great  many  little  theater 
organizations  in  this  country  follow  this  plan.    A  much  more 
enjoyable  plan,  though  it  must  be  admitted  that  it  pro- 
duces palpitation  of  the  heart  over  some  appearances,  is 
to  have  a  different  producer  for  each  play.    In  a  bill  of  four 
one-act  plays,  four  different  producers  would  be  represented 
upon  the  program.     Such  a  method  results  in  more  active 
participation  of  more  members  than  others  detailed  here.    It 
raises  the  level  of  the  methods  by  comparison,  imitation, 
and  emulation.     It  develops  originality  of  method.     Per- 
sons who  have  produced  are  frequently  by  that  experience 
rendered  better  performers.     Many  a  performer  develops 
into  a  better  producer.    It  overcomes  the  lethargy  of  non- 
participants,  as  there  is  always  the  keenness  of  judging  a 
new  or  different  producer's  results.     Whether  these  pro- 
ducers be  elected  by  the  entire  membership  or  appointed 
by  the  governing  board,  they  should  be  required  to  carry 
out  their  assignments,  or  pay  a  fine  for  release  unless  a 


ORGANIZING  AN  AMATEUR  GROUP       13 

legitimate  reason  is  offered.  Such  a  plan  will  result  in  ex- 
hibitions by  some  dozen  producers  during  a  season.  The 
educative  value  of  such  variety  to  the  audiences  as  well  as 
to  the  individuals  themselves  is  incalculable. 

Writers  who  would  pattern  every  amateur  activity  upon 
the  model  of  professional  companies  always  stipulate  that 
a  producer  or  director  must  have  a  stage-manager  to  hold 
the  book  during  rehearsals,  to  mark  business,  to  prompt,  to 
make  property  lists,  to  see  that  the  stage  is  set,  to  give  mu- 
sic cues,  to  ring  the  curtain  up  and  down,  etc.  My  own 
observation  is  that  most  amateur  producers  do  practically 
all  of  these  things  themselves,  or  distribute  them.  The  nec- 
essity for  such  a  versatile  stage-manager  exists  in  profes- 
sional companies  because  the  producer  retires  after  the  per- 
formance has  been  repeated  a  few  times,  when  the  stage- 
manager  replaces  him  for  the  odd  jobs  which  must  still  be 
overseen. 

The  stage-manager  in  amateur  arrangements  usually  fills 
the  slightly  higher  function  of  assistant  director. 

Around  the  director  there  should  be  grouped  a  produc- 
tions committee,  every  member  of  which  should  be  a  special- 
ist in  a  certain  phase  of  theater  art.  One  should  be  the 
scenery  designer  or  adapter.  Closely  associated  with  him 
should  be  the  furniture  and  decorating  expert.  Working 
in  closest  accord  with  these  should  be  the  costume  designer 
or  maker.  Another  member  should  collect  properties.  In 
all  discussions  the  lighting  director  should  participate  with 
helpful  advice  or  practical  objections.  Not  so  deeply  im- 
plicated yet  important  at  times  is  the  music  director.  There 
may  even  be  an  amateur  make-up  artist  who  wishes  to  know 


14       PRODUCING  IN  LITTLE  THEATERS 

the  play  intimately  in  order  to  expedite  preliminaries  at 
dress-rehearsal  and  performance.  These  active  leaders 
should  form  the  working  body  of  control  over  every  pro- 
duction, themselves  as  individuals  and  as  a  group  subject 
to  the  officers  or  executive  board  of  the  organization. 

Then  every  one  of  these  leaders  should  have  under  him  or 
her  a  working  committee  to  execute  commissions  and  pro- 
duce results.  The  scene  designer  may  design,  but  have  one 
of  his  assistants  finish  the  colored  drawing  to  scale.  The 
draping  expert  may  determine  color;  her  assistants  may 
scour  the  homes  of  members  to  find  the  suitable  lamp- 
shades. The  furniture  enthusiast  may  describe  an  orna- 
ment, but  one  of  her  assistants  may  be  the  only  one  who 
knows  how  to  create  it  from  glue,  paper-pulp,  and  paints. 
The  music  director  should  be  given  exact  requirements,  then 
proceed  to  fill  them.  He  cannot  be  allowed  to  provide  any- 
thing he  pleases  as  incidental  or  entr'acte  music.  While 
music  may  be  an  aid  to  some  plays,  it  may  be  entirely  out 
of  keeping  with  others.  In  this  latter  case  this  member  of 
the  committee  should  be  courteously  instructed  that  he  and 
his  assistants  will  not  be  used  in  this  production.  I  do  not 
believe  that  the  place  of  the  best  musician  your  society 
has  can  be  adequately  filled  by  a  graphophone  off-stage. 
Some  musicians  arc  almost  adamant  against  pleas  to  fur- 
nish off-stage  music,  as  for  a  street  song  in  Sabotage  or  a 
dance  in  The  Holiday,  yet  their  sense  of  loyalty  and  co- 
operation in  a  worthy  enterprise  should  be  aroused  for  even 
such  humble  tasks. 

A  play-reading  committee  is  frequently  a  time  and  labor 
saving  arrangement  for  executive  boards.    There  will  every 


ORGANIZING  AN  AMATEUR  GROUP       15 

season  be  specifications  of  certain  kinds  to  be  fulfilled.  One 
season  may  have  shown  the  need  of  a  lighter  touch  in  the 
plays.  The  members  of  the  play-reading  committee  then 
search  for  that  kind  of  material.  A  bill  in  prospect  is  too 
light;  it  needs  a  stabilizing  item.  A  search  is  made  for  that. 
Readers  should  meet  frequently  and  discuss  freely.  Their 
written  recommendations  giving  full  explanations  should 
be  sent  to  the  executive  board  or  to  the  producer  frequently, 
so  that  these  persons  may  have  leisure  in  which  to  examine 
possible  material. 

The  business  or  finance  committee  is  almost  entirely 
separate  in  function  from  the  preceding.  Its  chairman 
may  have  to  confer  with  other  chairmen  at  times,  but  once 
the  policy  is  adopted,  the  play  chosen,  the  producer  in- 
structed, the  budget  estimated,  the  work  of  the  business 
committee  is  entirely  distinct  from  the  activity  of  the  pro- 
ductions committee.  In  theatrical  parlance  the  latter  is 
concerned  only  with  the  "  back  of  the  house,"  that  portion 
behind  the  proscenium;  the  former  committee  controls  the 
"  front  of  the  house." 

The  composition  and  duties  of  all  other  committees  will 
take  form  from  the  three  chief  bodies  just  outlined  here — 
the  officers  or  executive  board  of  the  entire  organization, 
the  productions  committee,  the  business  or  finance  commit- 
tee. For  instance,  a  membership  committee  springs  from 
the  executive  board.  A  stage  model  committee  would  be  an 
outgrowth  of  the  productions  group.  A  printing  or  adver- 
tising committee  would  spring  from  the  business  organiza- 
tion. Others  might  be  concerned  with  suppers,  guests,  lec- 
tures, publicity,  photographs,  library,  building  fund,  nomi- 


i6       PRODUCING  IN  LITTLE  THEATERS 

nations,  cooperation  with  other  groups,  or  circuiting  per- 
formances. 

Quite  as  important  as  membership  is  money.  No  play, 
I  venture  to  say,  however  simple,  can  be  produced  without 
at  least  buying  the  copies.  This  is  the  fundamental  first 
expense.  To  it  many  others  are  added.  Play  production 
costs  money.  Your  club  may  start  on  nothing  a  year,  and, 
if  you  can  secure  credit,  may  pay  the  bills  you  incur  with 
the  proceeds  of  the  first  performance,  if  you  are  successful 
in  attracting  a  paying  audience.  Some  organizations  charge 
dues  of  varying  amounts  up  to  say  ten  dollars  annually. 
In  cooperative  plans  the  members  advance  enough  to  cover 
the  first  performance,  and  are  repaid  at  the  end  of  the  sea- 
son. A  feeling  of  security  and  independence  alike  is  af- 
forded by  the  pledges  of  guarantors,  who  should  be  called 
upon  to  redeem  cheir  pledges  only  when  all  other  resources 
are  exhausted.  There  is  one  danger  in  this  scheme.  An 
over-enthusiastic  director  feeling  that  the  guarantors  are 
bound  to  cover  any  deficit  may  plunge  heavily  and  so  in- 
stead of  creating  loyalty,  may  arouse  antagonism. 

It  is  more  artistic  to  insure  permanency  and  solvency 
by  being  careful  about  money  than  to  be  a  fly-by-night  pro- 
ducer cleaning  up  on  one  splurge.  In  estimating  your  total 
income  try  to  be  moderate.  Do  not  count  every  available 
seat  as  sold  until  it  has  been  paid  for.  Provide  for  the  de- 
duction of  every  legitimate  expense.  If  your  income  is  from 
dues,  collect  early  in  the  season.  Remember  that  not  every 
person  listed  as  a  member  will  pay  dues.  Estimate  the 
usual  loss  by  resignation  and  removal.  With  a  knowledge 
of  your  entire  resources  plan  the  number  of  performances 


ORGANIZING  AN  AMATEUR  GROUP       17 

and  allot  the  available  funds.  With  two  hundred  members 
at  five  dollars  each  you  may  reasonably  count  upon  nine 
hundred  dollars  to  spend.  If  one  program  is  to  be  made  up 
of  modern  plays  for  which  costumes  can  be  secured  for 
nothing,  or  if  a  play  entails  no  royalty,  you  will  be  able 
to  shift  money  to  other  undertakings. 

On  paid  admissions  always  discount  anticipated  receipts. 

One  of  the  most  fascinating  features  of  such  dramatic 
work  as  this  chapter  is  discussing  is  the  realization  of  re- 
markable effects  upon  limited  means.  Perhaps  the  best 
aspect  of  the  non-commercial  theater  is  this  willingness  and 
skill  in  securing  remarkable  results  with  economical  and 
inadequate  resources. 

The  one  item  which  will  have  the  most  direct  bearing 
upon  your  expense  sheet  will  be  the  equipment  of  the  stage 
you  use.  Whenever  you  rent  be  sure  to  know  exactly  what 
the  terms  include.  Ask  especially  about  extra  time.  Learn 
whether  the  dress  rehearsal  will  require  a  union  stage  crew. 
Be  clearly  informed  upon  the  relation  between  union  stage 
hands  and  union  musicians.  Look  carefully  over  the  house 
scenery,  furniture,  and  properties  to  determine  how  much 
you  can  use.  Know  exactly  how  much  of  the  material 
available  you  will  want  to  use.  The  general  rule  is  that  the 
rental  of  a  hall  with  stage,  or  of  a  theater,  includes  all  the 
standing  scenery  and  any  that  may  be  hanging.  In  many 
instances  it  turns  out  that  other  amateur  organizations  have 
left  their  material  in  the  custody  of  the  theater,  and  it  may 
happen  that  unless  you  take  special  care  in  finding  out  such 
things,  you  may  be  prevented  from  using  what  you  con- 
templated.   At  the  last  crowded  minute  you  may  have  to 


1 8       PRODUCING  IN  LITTLE  THEATERS 

secure  the  consent  of  several  people  to  utilize  the  black  cur- 
tains or  the  old  gold  screens  you  had  counted  on  for  your 
best  effects.    Yet  with  all  allowances  made,  the  amount  of 
valuable  assistance  which  amateur  directors  are  able  to  en- 
list is  amazing.    Nearly  every  one  is  generous  when  ama- 
teur productions  are  impending.     Owners  of  professional 
theaters  and  members  of  stage  crews  are  more  frequently 
extremely  accommodating  than  the  reverse.    But  it  is  wise 
not  to  depend  too  much  on  last  minute  round-ups.     In  all 
affairs  dramatic,  preparation  is  always  better  than  regret. 
In  planning  for  your  finances  prepare  a  budget,  even 
though  you  know  at  the  time  that  the  final  bills  will  go 
higher.    They  always  do.    In  financial  phases  of  organiza- 
tion and  control  nothing  makes  advice  so  impressive  as  do 
figures.    A  few  excerpts  from  expense  accounts  of  societies 
in  various  sections  of   the  country,  with   an  analysis   of 
some  of  the  items,  will  make  concrete  the  general  recom- 
mendations already  given.     These  tabulations  will  also  in- 
dicate how  different  bodies  of  actors  emphasize  different 
aspects  of  productions. 

The  subjoined  list  attempts  to  include  all  the  possibilities 
which  may  be  present  under  varying  circumstances.  If  you 
are  able  to  eliminate  many  of  these  you  are  peculiarly  for- 
tunate. 

Postage.  This  varies  greatly  with  the  nature  of  the  or- 
ganization and  the  performances. 

Printing.  In  your  stationery  make  modest  claims.  Let 
it  make  a  good  impression.  Don't  promise  too  much.  Ad- 
vertising may  come  under  this  heading. 

Rental.    This  is  usually^  the  largest  item.    Reductions 


H      3 


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CL        ;4. 


Dramatic   Work    Shop,    University    of   Louisville 
Parts  of  the   same  scenery  arranged  in  two  different 

sets.  

Above :     The  Package  from  Lexington,  by  George  Ade. 


Rclow  :     Green  Stock'vuis.  by  A.  E.  W.  Mason. 


ORGANIZING  AN  AMATEUR  GROUP       19 

can  be  secured  by  contracting  for  a  number  of  perform- 
ances. Possibly  you  can  have  rehearsals  at  odd  times  when 
the  stage  is  not  engaged.  Professional  houses  are  more 
likely  to  grant  you  this  privilege  than  private  halls.  The 
rental  for  a  dress  rehearsal  is  always  less  than  for  a  perform- 
ance. If  you  are  obliged  to  engage  union  stage  hands  and 
musicians  you  may  sometimes  save  money  by  having  the 
dress  rehearsal  the  afternoon  of  the  same  day  as  the  per- 
formance. Of  course  this  complicates  other  matters,  but  it 
does  save  money. 

Royalties,  and  Copies  of  the  Plays.  Copies  of  a  sin- 
gle play  for  a  cast  may  cost  as  much  as  ten  or  fifteen  dol- 
lars, either  in  typoscript  or  book  form.  Scores  of  the  best 
plays  are  either  out  of  print  or  buried  in  issues  of  little 
known  and  locally  circulated  periodicals.  It  is  next  to  im- 
possible to  secure  copies  of  some  plays.  If  you  doubt  this, 
ask  your  book  dealer  to  supply  you  with  ten  copies  for  your 
cast  of  Moliere's  Le  Bourgeois  Gentilhomme.  I  doubt  if  he 
will  be  able  to  supply  you  with  four  copies  of  any  one  good 
translation.  Always  pay  royalties  for  modern  plays,  unless 
authors  o§er  them  for  nothing.  You  would  not  ask  a  sta- 
tioner to  give  you  envelopes,  nor  a  grocer  tea  for  an  Eng- 
lish comedy.  Don't  then,  expect  authors  to  give  you  the 
only  thing  which  makes  your  organization  possible — good 
plays. 

Settings,  Scenery,  Furniture,  Properties.  Here  the 
artistic  ingenuity  of  your  art  staff  will  be  requisitioned. 

Costumes.  You  may  be  able  to  operate  an  entire  sea- 
son without  expending  much  on  costumes.  Don't  allow 
some  enthusiastic  designer  to  swamp  the  plays  with  oddities 


20       PRODUCING  IN  LITTLE  THEATERS 

and  the  treasurer  with  bills.  One  art  director  spent  so  much 
money  for  costumes  of  a  one-act  play  in  the  first  bill  that 
the  season  was  almost  wrecked  on  that  single  production. 
By  eschewing  period  and  romantic  material  for  the  remain- 
der of  the  winter  the  season  was  just  successfully  financed. 

Lighting.  If  the  equipment  of  your  stage  is  good,  this 
will  cost  practically  nothing.  If  you  use  a  non-professional 
stage,  you  can  easily  accumulate  simple  but  effective  light- 
ing apparatus. 

Make-up.  Hiring  a  professional  make-up  man  usually 
saves  money  and  annoyance.  His  stock  of  wigs  is  always 
better  than  an  amateur  collection.  In  many  plays  ade- 
quate make-up  is  required.  A  company  make-up  box  is  a 
great  saving  if  individuals  know  how  to  use  its  contents.  If 
an  active  member  can  make  up  the  performers  he  should 
be  pressed  into  participation. 

Hauling.  Scenery,  properties,  furniture,  costumes  may 
have  to  be  moved.  Costumers  do  not  pay  transportation 
charges. 

Miscellaneous.  Perhaps  this  division  should  have  been 
placed  first,  for  though  this  heading  is  indefinite,  it  always 
covers  a  large  amount.  It  may  include  anything;  flowers, 
ropes,  electric  bulbs,  unusual  properties,  telegrams,  porter 
service,  labor,  lunches,  beverages,  damage  to  property,  taxi- 
cab  fares,  insurance  on  borrowed  property,  music,  wiring, 
tacks,  broken  dishes,  doorman,  delivery  boy,  expressage, 
hardware,  window  panes  to  be  shattered,  cigars,  cigarettes, 
drinks,  animals,  birds,  tips. 

The  following  are  copies  of  actual  expense  sheets  of  pro- 
ductions in  various  parts  of  the  country.     Inspection  and 


ORGANIZING  AN  AMATEUR  GROUP      2f 

comparison  of  the  items  will  indicate  what  matters  must  be 
considered  and  provided  for  in  advance.  Notice  that  cos- 
tume hire  and  rental  may  be  entailed  or  not  incurred.  The 
entries  for  scenery  deserve  thought.  The  sundries  further 
illustrate  the  remarks  made  in  the  preceding  paragraph  on 
miscellaneous  expenses. 

SPECIMEN  EXPENSE  SHEETS 
Three  One-Act  Plays 

Rental    $  46.50 

Stage  Help   18.00 

Printing  Programs  5.67 

Printing  Tickets   3.25 

Photographs    16.00 

Hauling    2.75 

Doorman    2.00 

Books    1.50 

Scenery     66.95 

Costumes  and  Make-up 24.70 

Gold  Paint 85 

Royalties    45-00 

$233.17 
Three  One- Act  Plays 

Rental  $  61.50 

Doorman    2.00 

Books    1.75 

Printing  Tickets   8.75 

Printing  Programs  13.80 

Expenses  of  Production  Committee  . .  48.80 

Typing  Parts    4.00 

Make-up  Material  3.50 

Porter  Service  i.oo 

$i4S-io 
A  Full-Length  Play 

Rental   $  73.00 

Books    1445 

Printing  Tickets   6.80 

Scenery     1 10.00 

Stage  Help   10.00 

Expenses  of  Production  Committee  . .  27.50 

$241.75 


22        PRODUCING  IN  LITTLE  THEATERS 

High  School  Production 

Le  Bourgeois   Gentilhomme 

30  costumes,  dress  rehearsal  and  per- 
formance      $  "5.00 

Make-up,  twice    15.00 

Hauling    3.00 

Typing  parts  3.40 

Janitor's   fees    4.00 

Printing  programs,  tickets    31.00 

$131-40 

We  shall  assume  that  it  is  early  autumn.  Your  organiza- 
tion is  perfected.  Your  officers  and  committees  have  been 
working  during  the  spring  and  summer  if  possible,  or  at 
least  during  several  weeks,  and  reporting.  Your  funds  are 
assured.  The  public  is  sympathetic  in  approval  of  your 
project.  With  all  your  thoughtful  allowance  for  enthusiastic 
overstatement  and  optimistic  credulity,  indications  of  large, 
appreciative  audiences  are  heartening  you.  Only  one  detail 
now  remains  to  engage  attention  and  time  before  your  season 
opens. 

What  kind  of  plays  will  you  offer? 


CHAPTER  III 
CHOOSING  THE  PLAY 

After  an  organization  for  the  presentation  of  plays  has 
been  perfected,  the  first  question  of  importance  which  arises 
is,  "  What  plays  shall  it  produce?  "  The  first  limits  to  this 
question  may  be  set  forth  by  the  provisions  of  your  con- 
stitution or  your  public  announcements.  Let  me  quote  a 
few  such  passages  taken  at  random,  I  shall  omit  the  names 
of  the  organizations. 

This  group  ''  has  been  organized  to  encourage  and  foster 
the  dramatic  instinct  in  young  people,  to  become  familiar 
with  the  best  dramatic  literature  through  study  and  pres- 
entation, also  with  all  the  details  of  the  art  of  stagecraft, 
to  the  end  that  the  members  may  develop  an  enhanced 
sense  of  life's  values  and  the  realization  of  that  culture 
which  is  characterized  by  cultivated  imagination  and  sym- 
pathy, as  well  as  information  and  knowledge." 

"  The  object  shall  be  to  encourage  the  presentation  of 
plays  by  amateurs,  to  secure  unity  of  purpose  and  proce- 
dure in  the  giving  of  plays,  to  provide  a  systematic  and 
diversified  program  of  plays,  to  conserve  available  talent 
and  material  through  their  largest  possible  use,  and  to  estab- 
lish a  Community  Theater." 

"  The  aim  is  to  add  something  to  the  joy  of  life  by  the 
presentation  of  good  music  and  worth  while  plays." 

23 


24       PRODUCING  IN  LITTLE  THEATERS 

"  Our  aims  are  not  hard  to  understand ;  to  give  drama 
with  a  literary  quality,  acted  and  staged  with  sincerity  and 
artistic  simplicity — in  short,  to  study  the  community  that 
its  theater  may  express  its  ideals;  to  make  of  the  theater 
a  place  where  good  drama,  wholesome  amusements,  and  in- 
telligent recreation  may  be  enjoyed;  a  place  where  may  be 
seen  those  plays  seldom  seen  on  the  commercial  stage — and 
finally  to  encourage  the  creative  spirit  of  our  own  people." 

"  This  is  a  permanent  little  theater  organization  whose 
policy  is  to  produce  new  plays  by  unknown  writers  with 
the  works  of  standard  authors." 

"  The  aim  of  the  Club  has  been  to  present  to  University 
audiences  plays  of  literary  worth  by  contemporary  Euro- 
pean and  American  dramatists,  especially  such  plays  as 
could  hardly  hope  for  presentation  on  the  commercial  stage, 
and  to  provide  for  undergraduates  interested  in  the  direc- 
tion, staging,  acting,  designing,  and  writing  of  plays,  some 
opportunity  to  develop  their  abilities." 

'*  This  is  a  traveling  group  of  actors  organized  to  put  on 
the  best  plays  of  the  little  theater  and  the  new  theater  move- 
ments before  clubs  and  other  private  audiences  which  other- 
wise might  not  have  an  opportunity  to  witness  perform- 
ances of  these." 

"  The  purpose  of  this  club  shall  be  to  study  and  rehearse 
significant  plays,  and  to  develop  the  dramatic  expression  of 
its  members." 

"  Our  aim  is  not  to  present  great  plays  by  great  writers, 
but  sincere  plays  by  beginners.  We  do  not  seek  to  uplift 
the  drama,  but  to  bring  out  the  best  there  is  in  dramatic 
writing." 


CHOOSING  THE  PLAY  25 

"  The  workshop  is  an  experimental  theater  where  ideas 
may  be  worked  out  in  actual  stage  practice.  It  will  give 
plays  by  writers  of  this  city  and  nothing  but  first  produc- 
tions." 

No  matter  how  definitely  some  purpose  has  been  stated 
in  the  constitution  of  the  society,  there  arises  continually 
the  necessity  of  deciding  which  plays  to  select.  The  pur- 
pose may  be  so  simple  as  "  to  provide  entertainments  of  a 
dramatic  character."  It  may  assert  that  only  "  plays  exem- 
plifying the  new  movement  in  the  theater  are  to  be  acted." 
It  may  intend  to  give  plays  by  its  own  members  only. 
Whatever  its  avowed  purpose,  decisions  must  be  made 
among  possible  choices,  so  that  the  actual  work  of  produc- 
tion may  begin. 

At  just  this  point  you  had  better — unless  you  are  already 
acquainted  with  its  terms  and  operation — investigate  the 
copyright  law  of  the  United  States.  The  item  of  royalty 
was  mentioned  in  the  previous  chapter  in  the  list  of  ex- 
penses. It  seems  strange  that  persons  who  would  not  think 
of  taking  and  using  a  tack  which  does  not  belong  to  them 
will  attempt  to  take  and  use  what  is  infinitely  more  valu- 
able, the  product  of  an  author's  brain,  and  then  feel  badly 
used  when  they  are  made  to  pay  for  their  pleasure.  No  act- 
ing group,  I  venture  to  say,  would  deliberately  take  electric 
bulbs  from  a  dealer  without  arranging  for  payment,  yet 
scores  of  them  in  this  country  have  used  plays  for  which 
they  have  never  paid  a  dollar.  In  fact,  some  persons  resent 
the  demand  of  royalty,  even  when  the  published  play  states 
clearly  the  terms  of  production.  Mr.  Shaw  told  a  certain 
American  amateur  director  exactly  what  he  thought  of  her 


2  6        PRODUCING  IN  LITTLE  THEATERS 

insistence  that  he  allow  her  to  produce  one  of  his  works. 
Authors  and  publishers  are  more  careful  about  this  matter 
than  they  used  to  be.  The  fact  may  startle  the  uninitiated, 
but  authors  are  not  always  anxious  to  have  their  plays  per- 
formed by  every  one  who  thinks  he  can  do  justice  to  the 
material.  You  may  be  refused  permission  because  some 
producer  in  your  neighborhood  has  already  arranged  for 
the  use  of  the  same  play.  One  author  told  me  she  had  re- 
fused to  allow  one  of  her  plays — a  delicate,  subtle  handling 
— to  be  performed  by  a  small  agricultural  college.  She  may 
have  been  mistaken,  but  her  feeling  induced  her  refusal. 
Many  a  dramatist  who  has  sat  through  productions  of  his 
work  has  wished  that  he  had  refused. 

Notices  included  in  volumes  of  published  plays  should 
be  quite  clear  in  their  intent.  If  you  desire  to  make  your- 
self entirely  conversant  with  all  the  details  of  copyright  you 
should  apply  for  Copyright  Bulletin,  Number  14,  issued 
by  the  Register  of  Copyrights,  Library  of  Congress,  Wash- 
ington. 

Bear  in  mind,  also,  that  a  play  in  manuscript  or  typo- 
script,  "  not  reproduced  in  copies  for  sale,"  as  it  is  described 
by  the  Copyright  Office,  may  have  been  copyrighted,  and 
if  it  bears  the  notice,  is  as  much  the  dramatist's  private 
property — so  far  as  performance  is  concerned — as  though  it 
were  published  in  a  solid  looking  book. 

The  two  following  notices,  taken  from  two  recent  volumes 
of  plays  from  different  firms,  seem  to  be  clear  enough, 
yet  an  officer  of  the  first  told  me  that  hundreds  of  letters 
come  to  him  asking  for  exactly  the  same  information  so 
clearly  stated  by  the  first  notice. 


CHOOSING  THE  PLAY  27 

SPECIAL    NOTICE 

These  plays  in  their  printed  form  are  designed  for 
the  reading  public  only.  All  dramatic  rights  in  them 
are  fully  protected  by  copyright,  both  in  the  United 
States  and  in  Great  Britain,  and  no  public  or  private 
performance — professional  or  amateur — may  be  given 
without  the  written  permission  of  the  author  and  the 
payment  of  royalty.  As  the  courts  have  also  ruled 
that  the  public  reading  of  a  play,  for  pay  or  where 
tickets  are  sold,  constitutes  a  "  performance,"  no  such 
reading  may  be  given  except  under  conditions  as  above 
stated.  Any  one  disregarding  the  author's  rights  ren- 
ders himself  liable  to  prosecution.  Communications 
should  be  sent  to  the  author,  care  of  the  publishers. 

In  its  present  form  this  play  is  dedicated  to  the 
reading  public  only,  and  no  performances  of  it  may 
be  given  without  the  permission  of  the  authors  who 
may  be  addressed  in  care  of  the  publisher.  Any  piracy 
or  infringement  will  be  prosecuted  in  accordance  with 
the  penalties  provided  by  the  United  States  Statutes: 

Sec.  4966. — Any  person  publicly  performing  or  rep- 
resenting any  dramatic  or  musical  composition,  for 
which  copyright  has  been  obtained,  without  the  con- 
sent of  the  proprietor  of  the  said  dramatic  or  musical 
composition,  or  his  heirs  or  assigns,  shall  be  liable  for 
damages  in  all  cases  to  be  assessed  at  such  sum,  not 
less  than  one  hundred  dollars  for  the  first  and  fifty 
dollars  for  every  subsequent  performance,  as  to  the 
Court  shall  appear  to  be  just.  If  the  unlawful  per- 
formance and  representation  be  wilful,  and  for  profit, 
such  person  or  persons  shall  be  guilty  of  a  misdemeanor, 
and  upon  conviction  be  imprisoned  for  a  period  not 
exceeding  one  year. — U.  S.  Revised  Statutes,  Title  60, 
Chap.  3. 


28       PRODUCING  IN  LITTLE  THEATERS 

It  is  unfortunate  that  the  threat  of  prosecution  and  fine 
have  to  be  set  forth  so  plainly,  but  the  past — and  I  regret 
to  add  it,  present — ^practices  of  acting  groups  make  it 
necessary. 

The  remarkable  increase  of  interest  in  amateur  play- 
production  has  had  some  unfortunate  results.  Sev- 
eral amateurs,  it  appears,  have  shown  their  lack  of 
experience  by  putting  on  copyrighted  plays  without 
first  securing  permission.  Doubtless  few  members  of 
schools  or  clubs  would  wilfully  infringe  upon  the  rights 
of  the  owners  of  plays,  but  ignorance  of  the  law  ex- 
cuses no  one  and  carelessness  can  hardly  be  urged  as 
a  defense  against  prosecution  for  piracy. 

Such  prosecution  at  least  one  playwright  feels  com- 
pelled to  institute.  Mr.  Charles  Douville  Coburn,  who 
owns  the  rights  of  production  of  The  Yellow  Jacket, 
by  George  C.  Hazelton  and  Benrimo,  has  learned  of 
several  instances  of  illegal  use  of  this  play,  and  in  at 
least  three  cases  must  prosecute  the  offenders  in  order 
to  conserve  his  own  interests.  All  possible  publicity 
should  be  given  his  experience  in  order  that  amateurs 
throughout  the  country  may  be  saved  from  committing 
like  offense. 

English  Journal,  191 5. 

There  are  literally  thousands  of  good  plays.  One  list  of 
recent  American  one-act  plays  alone  contains  some  two  hun- 
dred sixty  titles.  A  selected  list  of  titles  of  plays  suit- 
able for  schools  and  colleges  includes  over  four  hundred 
entries.  How  shall  the  best  and  most  appropriate  be  chosen? 

Four  factors  enter  into  all  such  considerations:  i.  The 
tone  or  quality  of  your  aims.  2.  The  actors.  3.  The 
stage.    4.  The  audience. 


CHOOSING  THE  PLAY  29 

So  far  as  the  first  of  these  is  concerned,  you  can  easily 
declare  that  you  desire  to  choose  only  the  best  plays  writ- 
ten. That  is  the  worthiest  aim  you  can  have  for  the  quality 
of  your  material.  If  you  decide  to  offer  only  farce,  you 
should  choose  the  best.  If  you  venture  into  melodrama, 
you  should  try  to  select  the  best.  If  you  turn  to  the  classics, 
you  should  unfailingly  select  those  which  are  best  as  drama. 

The  actors  to  whom  you  entrust  the  roles  will  determine 
the  range  of  your  examination.  Plays  with  large  casts  may 
be  debarred  in  advance.  Yet  they  might  be  exactly  suited 
to  schools  and  colleges,  singing  societies,  church  organiza- 
tions, etc.  Others  with  children's  roles  may  fall  outside 
your  group.  A  drama  may  require  a  certain  physical  tjTpe 
which  your  personnel  does  not  include.  You  had  better  not 
attempt  it,  then,  at  the  risk  of  miscasting  a  part.  Ama- 
teurs and  professional  directors  do  make  glaring  errors  in 
casting  dramas,  but  avoid  doing  it,  if  you  can.  A  play  may 
not  interest  the  performers.  This  is  fatal  for  amateurs. 
Professionals  will  work  with  material  when  they  are  not  en- 
thusiastic about  it.  But  amateurs,  to  be  successful,  must  be 
congenial  in  their  roles.  In  amateur  organizations  casts 
have  unanimously  decided  to  return  a  play  to  the  director, 
asking  to  be  excused  from  performing  in  it.  In  other  cases, 
individuals  relinquish  roles,  so  that  some  thirty  persons 
may  attend  rehearsals  before  five  roles  are  cast.  Even  at- 
tempting to  impose  a  fine  upon  a  member  who  cannot  pre- 
sent a  valid  excuse  for  avoiding  or  relinquishing  assign- 
ment of  a  role  cannot  successfully  counteract  this. 

Likewise,  the  stage  you  use  will  eliminate  certain  plays. 
This  consideration  is  not  so  important  as  it  used  to  be,  for 


30        PRODUCING  IN  LITTLE  THEATERS 

modern  stagecraft  has  shown  almost  unbelievable  effects 
upon  small  and  simple  stages. 

Last  of  all,  the  audience  must  be  considered.  There  is  a 
tendency  among  some  little  theater  enthusiasts  to  pretend 
that  audiences  can  be  totally  disregarded.  In  some  cases 
they  may  be,  but  the  general  practice  is  to  present  plays 
before  audiences.  Even  the  most  intellectual  or  novel  good 
plays  should  attract  people  who  respond  to  their  dramatic 
effects.  A  comedy  which  interests  may  be  more  stimulating 
than  a  Greek  tragedy  which  bores  both  performers  and 
audience.  It  is  true  that  not  the  entire  public  of  the  com- 
munity need  be  appealed  to  or  considered,  but  a  theater, 
to  be  even  artistically  successful,  must  find,  attract,  and 
hold  its  audience.  This  is  generally  accomplished  by  a 
gradual  process  of  elimination  and  accretion,  based  on  the 
inducing  of  a  rapport  between  the  stage  and  the  house. 

An  amateur  group  which  starts  to  build  up  a  producing 
company  should  attempt  at  the  same  time  to  develop  an 
appreciative  audience,  unless  it  exists  already.  Experi- 
mental societies  will  do  well  to  follow  the  methods  of  their 
successful  predecessors.  Perhaps  the  best  known  organiza- 
tion of  this  kind  was  the  Washington  Square  Players  of 
New  York.  Novelties  they  gave  by  dozens.  Yet  the  man- 
aging directors  appear  to  have  been  careful  never  to  repel 
their  audiences.  The  bold,  the  bizarre,  the  startling,  the 
advanced,  was  always  "  carried  "  by  surrounding  material, 
the  effect  of  which  could  be  predicted  with  certainty.  By 
careful  study  and  adjustment,  this  company  was  able  to 
move  its  audience  from  the  Washington  Square  district  to 
a  remote  East  Side  theater  on  Fifty-Seventh  Street,  then  to 


CHOOSING  THE  PLAY  31 

the  professional  Comedy  Theater.  While  the  two  organiza- 
tions are  not  the  same,  it  may  be  said  that  the  successor 
to  the  Washington  Square  Players  is  the  Theater  Guild. 
This  well-conceived  body  makes  no  pretense  to  catering  to 
the  large,  indiscriminate,  transient,  theater-patronizing 
hordes  of  people  in  New  York.  Its  hope  was  not  to  attract 
the  public,  but  a  public — a  public  its  sponsors  were  con- 
vinced must  exist  in  a  city  drawing  its  theater  patrons  from 
some  ten  million  persons.  It  fortunately  did  not  have  to 
wait  long  before  this  interested  patronage  was  consolidated. 
Not  all  its  plays  have  followed  the  same  standard,  but  it 
has  not  alienated  its  regular  audiences,  nor  will  it.  The 
future  will  strengthen  its  influence  for  good  drama  in 
America. 

On  the  other  hand,  many  failures  may  be  explained  by 
an  adherence  to  a  principle  the  opposite  of  this.  A  signal 
failure  and  retirement  from  one  city  of  what  had  promised 
to  become  a  permanent  and  flourishing  center  of  good  un- 
usual drama  are  attributed  to  a  determined  effort  on  the 
part  of  the  director  to  force  upon  the  public  what  it  mani- 
festly did  not  want.  He  was  over-enthusiastic  about  Greek 
tragedy.  The  people  he  needed  in  his  audience  unmis- 
takably indicated  that  they  were  satisfied  with  a  small 
dose  of  such  fare.  The  audience  dwindled.  The  company 
disbanded.    The  director  departed. 

As  a  summary  of  the  preceding,  it  may  be  stated  as  a 
general  rule  that,  taking  into  consideration  the  physical 
limitations  of  your  stage,  the  dramatic  ability  of  your  ac- 
tors, and  the  compositions  of  authors,  you  should  choose 
only  the  best  plays. 


32        PRODUCING  IN  LITTLE  THEATERS 

The  second  question  which  will  arise  is,  "  Shall  we  pro- 
duce full-length  plays,  or  one-act  plays?  " 

Full-length  plays  have  certain  advantages.  They  tell 
fully-developed  and  rounded-off  stories.  They  have  a  sig- 
nificance because  of  their  length.  They  give  chances  for 
real  character  delineation  by  the  performers.  They  offer 
opportunities  for  more  different  kinds  of  characters.  The 
actors  have  more  changes  of  moods,  more  reactions  to  por- 
tray. As  many  full-length  plays  are  set  in  one  place,  or 
in  two  different  places,  they  may  be  easily  and  adequately 
mounted.  Makeshift  stage  decoration — only  too  evident  to 
the  experienced  audience — can  be  avoided  by  careful  plan- 
ning and  arranging.  If  you  have  to  provide  your  own 
scenery  you  might  find  the  three  or  four  sets  for  a  bill  of 
one-act  plays  beyond  your  resources,  yet  you  might  be  able 
to  pay  for  the  one  or  two  sets  of  a  long  play.  It  would  be 
perfectly  possible  to  give  almost  an  entire  season  of  long 
plays  of  which  each  would  require  only  an  easily  secured 
interior. 

The  greatest  advantage  of  the  full-length  plays  is  that 
this  is  the  form  most  familiar  to  audiences.  People  have 
become  accustomed  to  follow  drama  of  this  length  and  pat- 
tern. In  offering  full-length  plays  you  are  not  attempting 
any  education  of  the  public.  You  are  not  required  to  over- 
come active  prejudice  or  dull  inertia.  Children  prefer  long 
plots  in  connected  acts,  just  as  they  always  like  continued 
or  long  yarns  in  the  nursery.  A  most  successful  producer 
of  plays  for  children  writes  me  this  fact  about  the  capacity 
audiences  of  the  young  who  attend  his  plays.  During  sev- 
eral seasons  he  has  introduced  a  few  matinees  of  short 


CHOOSING  THE  PLAY  33 

plays,  always  with  the  confirmation  of  his  experience  that 
they  are  not  as  successful  in  appeal  as  are  the  longer  versions. 
The  grown-up  theatrical  audience  is  not  very  different  from 
the  child  audience.  It  may  consider  the  bill  of  one-act 
plays  too  disconnected.  It  may  prefer  one  long  impression 
to  a  series  of  short,  though  strong  reactions.  It  describes 
its  feeling  as  "  getting  out  of  the  mood  of  the  play."  In 
proof  of  this  one  need  merely  recall  the  introduction  of  the 
short  play  into  America — its  difficulty  of  securing  respect- 
ful attention  as  a  dignified  art  form  even  now. 

On  the  other  hand,  long  plays  are  sometimes  difficult  for 
amateurs  to  interpret  satisfactorily  because  the  acting  re- 
quires more  ability  than  a  fifteen-minute  incident  does. 
The  plot  is  more  complicated.  There  are  more  interwoven 
threads  of  story.  The  interrelation  of  characters  is  more 
subtly  evolved.  More  different  kinds  of  situations  are 
built  around  the  central  theme.  More  delicate  reactions 
are  demanded.  As  the  large  effects  are  cumulative,  the  de- 
tails contributory  to  them  must  be  more  gradually  intensi- 
fied. Events  must  not  move  so  directly  from  start  to  finish. 
There  must  be  more  variety  in  actions.  Characters  have  to 
develop,  to  change,  and  this  variety  of  delineation  becomes 
an  exaction  which  must  be  carefully  adjusted.  In  addi- 
tion to  this,  inexperienced  actors  may  find  it  difficult  to 
"  stand  up  "  to  the  requirements  of  a  role  running  through 
three  or  four  acts.  Acting  consumes  both  nervous  and 
physical  energy.  Amateurs  are  prone  to  forget  this,  yet 
they  feel  it  later  when  the  excitement  vanishes  and  only 
the  effects  of  the  strain  remain.  If  the  cast  enters  the  con- 
cluding act  of  a  long  play  with  no  vigor,  their  efforts  will 


34        PRODUCING  IN  LITTLE  THEATERS 

likely  fall  flat  just  when  they  should  be  most  stirring.  The 
leading  roles  must  be  particularly  well  cast  to  balance  these 
exacting  demands  made  by  a  long  play. 

While  many  amateurs  cling  to  the  long  play,  most  pro- 
gressive groups  have  turned  to  the  one-act  form.  The  two 
chief  deterrents  to  its  even  wider  popularity  are  the  expense 
and  labor  of  setting  it  properly.  Most  long  plays  require 
the  usual  surroundings  of  everyday  life.  Theaters  and 
halls  have  such  scenery,  or  can  provide  it.  One-act  plays 
make  the  most  startling  demands — a  lighthouse  interior  in 
The  Keepers  of  the  Light,  a  Paris  Grand  Guignol  success 
by  Autier  and  Cloquemin,  the  operating  room  of  a  hospital 
in  Laughing  Gas  by  Dreiser,  a  man's  heart  in  The  Theater 
of  the  Soul  by  Evreinov,  the  outside  of  an  envelope  in  Mrs. 
Calhoun  by  Ben  Hecht  and  Maxwell  Bodenheim,  a  design 
in  black  and  white  in  Grotesques  by  Cloyd  Head,  a  portion 
of  limitless  space  in  eternity  in  Beyond  by  Alice  Gersten- 
berg,  a  mantel-shelf  in  Manikin  and  Minikin  by  Alfred 
Kreymborg,  the  Gate  of  Heaven  in  The  Glittering  Gate  by 
Lord  Dunsany,  the  forecastle  of  a  tramp  steamer  in  In  the 
Zone  by  Eugene  O'Neill.  As  a  bill  of  one-act  plays  in- 
cludes three  or  four,  the  expense  of  many  different  settings 
may  run  high.  Yet  in  making  such  stage  decorations  lies 
one  of  the  keenest  delights  of  play  producing. 

The  lighthouse  interior  was  simply  made.  A  small  oc- 
tagonal room  showed  stone  walls.  An  iron  ladder  rose  from 
the  darkness  below  through  a  trap  towards  the  rear  and 
mounted  to  the  ceiling  where  it  disappeared  through 
another  opening.  A  brilliant  white  glow  which  flashed  at 
regular  intervals  through  this  ceiling  opening  gave  a  con- 


CHOOSING  THE  PLAY  35 

vincing  effect  of  the  revolving  light  above  while  wind,  rain, 
and  waves  yelled  outside. 

In  Laughing  Gas  a  bare  room  was  supplied  with  real 
equipment  for  the  reproduction  of  a  hospital  operation. 
Manipulation  of  lights  reinforced  the  changing  waves  of 
emotion  during  the  action. 

In  The  Theater  of  the  Soul  faces  appeared  from  deep 
darkness  into  light  of  varying  intensities  at  different  levels. 
The  heart  was  a  glowing  red  space  which  seemed  to  pul- 
sate owing  to  the  effect  of  fluctuating  light.  Real  persons 
appeared  in  the  full  light  of  the  foreground. 

White  designs  cut  and  applied  to  black  curtains  and 
costumes  and  figures  of  only  black  and  white  appearing 
in  white  light  produced  the  decorative  impression  of  Gro- 
tesques. 

In  Beyond  the  author  states  that  "  the  scene  suggests 
limitless  space  and  mist  and  is  played  behind  a  curtain  of 
gauze."  Around  the  entire  stage  should  be  hung  a  curtain 
of  blue,  a  cyclorama  or  horizont,  stretching  high  above. 
The  uneven  effect  below,  stipulated  by  the  dramatist,  can 
easily  be  made  by  placing  boxes,  boards,  inclined  planes, 
tables,  etc.,  upon  the  stage,  and  covering  the  entire  collec- 
tion with  canvas  falling  in  folds.  By  concentrating  light 
upon  the  face  of  the  single  character,  the  effect  of  limitless 
space  could  be  conveyed  to  spectators. 

The  mantel-shelf  may  sound  difficult,  because  how  can 
the  wall  between  it  and  the  floor  be  indicated?  In  one 
production  the  mantel  was  built  just  above  stage  level.  Be- 
hind it  a  flat  yellow  wall  was  placed.  Just  behind  the 
proscenium  opening  was  hung  a  darker  yellow  curtain  in 


36        PRODUCING  IN  LITTLE  THEATERS 

which  a  large  elliptical  opening  had  been  cut.  All  the  light 
was  behind  this  framing  curtain. 

The  Gate  of  Heaven  should  tower  high  above  a  few  rocks 
upon  the  stage  itself.  Behind  this  gate  a  blue  drop  or 
horizont  should  be  hung.  Stars  may  be  made  by  piercing 
small  holes  in  this  curtain  and  throwing  a  white  or  yellow 
light  upon  it  from  the  rear.  The  base  of  the  gate  should 
be  above  the  stage  level  to  suggest  limitless  space  below. 

A  wall  sloping  down  towards  one  corner  of  the  stage  with 
rude  bunks  built  against  it,  a  low  ceiling,  making  a  shallow 
stage  space,  would  suggest  the  narrow,  cramped  forecastle 
of  a  tramp  steamer  required  by  In  the  Zone.  A  translucent 
white  oblong  curtain  bordered  by  opaque  black  formed  the 
envelope  in  Mrs.  Calhoun.  The  stamp,  postmark,  and 
written  address  were  painted  upon  it.  Characters  stepped 
from  the  end  of  the  envelope  into  the  forepart  of  the  stage 
and  there  carried  on  the  action. 

Ingenious  designing,  slow  and  careful  planning,  a  knowl- 
edge of  how  to  produce  results  with  simple  means  will 
bridge  many  a  seeming  abyss  in  amateur  producing. 

The  second  difficulty  in  offering  one-act  plays  is  the  usual 
attitude  of  audiences  towards  them.  In  spite  of  the  years 
during  which  good,  bad,  and  impossible  short  plays  have 
been  offered  in  vaudeville,  and  the  great  vogue  of  this  short 
form  on  the  European  continent,  American  audiences  have 
to  be  trained  to  respond  heartily  to  them.  The  Princess 
Theater  in  New  York,  which  advertised  a  few  years  ago 
that  no  one  under  twenty-one  would  be  admitted,  could  not 
femain  open  with  one-act  bills,  even  with  that  spur   to 


CHOOSING  THE  PLAY  37 

curiosity.  Other  instances  of  the  same  kind  could  be  ad- 
duced. Although  the  Theater  Guild  of  New  York  fell  heir 
to  the  audiences  of  the  Washington  Square  Players  and 
several  of  their  performers,  it  did  not  pursue  the  previous 
policy  of  bills  of  one-acts,  but  has  from  the  very  first 
staged  full-length  dramas.  Yet  there  are  noticeable  al- 
ready some  results  of  the  activities  of  little  theater  groups. 
People  are  being  educated  to  appreciate  one-act  plays  as  a 
worthy  form  of  drama. 

Reasons  for  choosing  one-act  plays  greatly  outweigh  the 
reasons  against  them.  In  the  first  place,  most  of  the  great- 
est dramatists  have  produced  remarkable  material  in  this 
form.  Most  consistent  creators  of  drama  in  Europe  have 
at  some  time  conceived  and  written  short  plays.  Without 
any  effort  a  general  reader  can  jot  down  a  long  list  of 
names: — Andreev,  Barrie,  Benavente,  DAnnunzio,  De 
Musset,  Dunsany,  Evreinov,  France,  Giacosa,  Gregory, 
Hankin,  Houghton,  Jones,  Maeterlinck,  Masefield,  Schnitz- 
ler,  Shaw,  Strindberg,  Sudermann,  Sutro,  Symons,  Synge, 
Tchekoff,  Wilde,  Yeats.  The  list  of  Americans  would  con- 
tain quite  as  many  names,  although  because  of  the  dif- 
ferent status  of  the  short  form  with  us,  there  would  occur 
not  so  large  a  representation  of  our  best  known  dramatic 
writers.  Such  authors  as  just  listed  alone  would  lead  to 
production  of  their  one-act  dramas.  There  are  additional 
inducements.  One-act  plays  are  usually  easy  for  the  per- 
formers. They  do  not  require  any  great  changes  or  de- 
velopments of  character  delineation.  They  make  keen 
appeals,  all  the  more  poignant  because  short.    They  usually 


S&       PRODUCING  IN  LITTLE  THEATERS 

require  only  small  casts,  making  easy  the  choice  of  actors, 
and  the  progress  of  rehearsals.  They  are  amateur  material 
par  excellence. 

The  most  alluring  feature  of  short  plays  is  the  character- 
istic already  cited  as  a  probable  difficulty — the  demands 
of  their  stage  settings.  They  offer  the  widest  scope  for 
originality,  for  novelty,  for  ingenuity,  for  beauty.  They 
provide  the  experimental  material,  in  which  a  falling  short 
is  not  a  heinous  crime,  but  in  which  a  signal  success  may 
reform  or  revolutionize  stage  production  to  such  a  degree 
that  it  may  reach  even  the  professional  stage.  Naturally, 
a  beginning  organization,  acting  before  a  tolerant  audience, 
will  have  to  be  careful  not  to  introduce  too  many  startling 
effects.  But  every  performance  can  step  more  and  more  de- 
cidedly along  the  newer  paths  to  entire  originality  of  theme 
and  treatment.  Thus,  if  the  audience  is  not  at  the  begin- 
ning prepared  for  novel  methods,  the  productions,  always 
keeping  in  advance  but  never  losing  sympathetic  contact, 
can  lead  on  to  pantomime,  to  spoken  lines  without  action, 
to  so-called  static  drama  in  which  the  idea  alone  progresses, 
to  characters  playing  in  zones  of  different  colored  lights, 
to  draped  stages,  to  stylization,  to  conventionalized  sets,  to 
silhouetting  the  actors,  and  all  the  other  attractive  experi- 
mental newer  methods. 

Of  the  choice  of  plays  themselves,  the  guiding  principle 
should  be  variety.  The  list  of  kinds  of  plays  is  as  long 
today  as  it  was  when  Polonius  tried  to  tell  to  Hamlet  the 
sorts  offered  by  the  traveling  players.  Drama,  tragedy, 
comedy,  melodrama,  farce,  fantasy,  classic,  poem-mime, 
legitimate,   satire,   burlesque,   allegory,   spectacle,   parody, 


Plintngraphs  by  Jessie  Tarbox   Beals 


The  Emperor  Jones,  by  Eugene  O'Neill,  Provincetown 
Theater,  New  York. 


I'liotiit'raiiliS   liy    Kajiwai^ 


The    Artists'    Glilu,    Saint    Louis.      Plays    by    Lord 

Diinsany.  

Above:      Tents    of    the    Arabs.      Designed    by    Irving 

Pichel  and  Harlan  Frazer. 


P>clo\v :  A  Good  Bargain.  Designed  by  Lawrence 
luvald.  Tbis  play  was  written  especially  for  tbis 
organization. 


CHOOSING  THE  PLAY  39 

problem,  farce-comedy,  vaudeville,  comedietta,  interlude, 
extravaganza,  burletta,  harlequinade,  tragi-comedy,  curtain- 
raiser,  pantomime,  proverbe,  mumming,  masque,  mono- 
drama,  juvenile;  the  enumeration  may  be  extended  even 
further. 

Learn  to  know  quickly  when  you  have  chosen  the  wrong 
kind.  Learn — and  this  is  more  important — exactly  why  it 
is  inappropriate.  Of  the  countless  factors  which  enter  into 
the  impression  made  by  a  performance  you  should  be  able 
to  seize  at  once  the  operative  detractive  cause,  so  that  in 
all  future  attempts  that  one  may  be  eliminated.  Judge  all 
later  possibilities  from  past  experiences. 

Never  offend  the  sensibilities  of  your  audience.  A  pro- 
fessional producer  might  decide  to  risk  a  performance 
which  will  stir  up  antagonism,  although  I  never  heard  of 
one  who  did,  but  he  is  offering  a  thing  for  public  patronage. 
People  need  no  more  attend  his  theater  than  they  need 
smoke  a  certain  brand  of  poor  cigarette.  If  he  is  an  acute 
commercial  manager  he  will  soon  change  his  plan  of  ap- 
proaching the  public  or  his  theater  will  cease  to  be  a  pay- 
ing investment,  and  some  one  else  will  be  using  his  stage. 
But  in  amateur  dramatics  there  should  be — there  always  is 
— a  different  relation  between  performers  and  audience. 
When  you  have  seen  your  audience  display  respectful  bore- 
dom because  you  are  enthusiastically  offering  a  second 
Greek  drama,  do  not  doggedly  set  your  teeth  and  utter, 
"  Greek  tragedy  is  good  for  them; — they've  got  to  like  it!  " 
Try  to  appreciate  the  fact  that  all  kinds  of  people  com- 
pose theatrical  audiences.  Indifference  to  acted  classic 
drama  is  not  in  itself  a  sign  of  ignorance.     The  variety 


40        PRODUCING  IN  LITTLE  THEATERS 

simply  does  not  elicit  the  wide  response  of  other  forms. 
Of  course  antique  plays  can  be  made  beautiful.  Some  of 
them  present  stories  of  universal  significance,  yet  these  are 
rather  few.  The  most  scholarly  persons,  who  know  the 
conditions  of  original  presentation  in  the  great  open  air 
under  the  brilliant  sunlight  and  azure  skies  of  Greece,  are 
just  as  likely  as  the  non-classicist  to  resent  the  restriction 
of  a  great  old  tragedy  to  a  cramped  interior  stage  tinted 
with  electric  light.  Don't  force  a  long  series  of  Irish  one- 
act  plays  upon  them.  While  many  plays  written  under  the 
impetus  of  the  Irish  Renaissance  are  worth  producing, 
there  are  others  with  no  appeal  outside  the  Abbey  Theater, 
and  if  we  may  believe  some  of  the  interested  members  of 
that  group  itself,  with  not  much  appeal  to  audiences  in  that 
building.  Intention  does  not  mean  achievement  in  dra- 
matics. A  few  of  the  Irish  farces  and  comedies  are  laugh- 
able. Some  of  the  dramas  are  ingenuous  rather  than  in- 
genious, while  not  a  few  of  the  attempted  poetic  dramas 
are  misty  rather  than  mysterious.  Don't  make  audiences 
sit  through  too  many  costumed  romances.  Don't  give  a 
long  series  of  situations  depicting  the  down-trodden  labor- 
ing man.  Spare  the  triangle,  whether  right-angled  or  any 
other  kind.  Learn  to  build  up  a  bill  or  a  season  as  the 
careful  leader  of  a  symphony  orchestra  arranges  either  a 
single  program  or  a  series  of  successive  concerts.  Intel- 
lectual relief  does  not  mean  a  sinking  below  the  level  of 
your  audience  and  your  own  ideals.  Many  a  laugh-pro- 
voking comedy  is  as  stimulating  intellectually  as  a  preach- 
ing problem  play. 
Study  the  programs  of  successful  organizations,  the  plans 


CHOOSING  THE  PLAY  41 

of  their  seasons.  Specimen  illustrations  of  several  of  these 
are  reproduced  and  discussed  in  the  next  chapter.  At  times 
directors  attempt  plebiscites  of  their  audiences,  requesting 
them  at  the  end  of  a  season  to  indicate  on  a  blank  form 
their  first  choices  of  the  best  bill,  the  best  single  play,  the 
best  produced,  the  best  acted.  While  such  schemes  are 
excellent  in  principle,  the  returns  are  disappointingly  few 
in  proportion  to  the  size  of  audiences.  The  most  famous 
one-act  theater  in  the  world,  the  Grand  Guignol  of  Paris, 
makes  up  its  bills  of  six  short  plays  of  three  tres  leste,  as 
the  Parisians  say,  that  is,  three  "  shockers,"  and  three  hor- 
rors. Reference  has  afready  been  made  to  a  bill  of  sure 
effects  to  "  carry  "  the  bizarre  novelty  or  the  startling  ex- 
periment. As  performers  and  audience  grow  in  accord,  the 
productions  should  show  decided  advances  in  quality  of 
material  and  originality  of  treatment.  If  your  audiences 
become  theater  trained — for  people  can  be  educated  in  dra- 
matic exactly  as  they  can  be  in  musical  appreciation — 
you  may  try  anything.  But  never  lose  sight  of  the  prin- 
ciple of  variety  and  relief.  Even  when  the  bill  is  announced 
as  Plays  from  the  Italian  there  should  be  no  two  closely 
similar.  An  evening  might  include  the  passionate  drama  of 
the  Middle  Ages,  The  Dream  of  an  Autumn  Sunset  by 
D'Annunzio,  the  poetic  Game  of  Chess  by  Giacosa,  and 
the  scandalous  but  laughable  Honorable  Lover  by  Bracco. 
An  Irish  bill  could  secure  variety  by  including  a  symbolic 
poem  by  Yeats,  a  farce-comedy  by  Synge,  a  genre  study 
by  Lady  Gregory,  and  a  satire  by  G.  Bernard  Shaw.  Even 
a  bill  of  "  lover "  plays  could  be  varied,  for  it  could 
range   from   the   delicate    exaggeration   of    The   Constant 


42        PRODUCING  IN  LITTLE  THEATERS 

Lover  by  St.  John  Hankin  to  the  realistic  bitingness  of 
The  Magnanimous  Lover  by  St.  John  Ervine.  A  program 
of  plays  with  "  unspoken  lines  "  might  be  announced.  This 
phrase,  perhaps,  does  not  clearly  indicate  the  kind  of  thing 
it  attempts  to  describe,  but  illustration  will  make  this 
clear.  There  are  some — though  not  many — interesting 
novelties  in  which  the  lines  are  not  actual  speeches  deliv- 
ered by  the  characters,  but  their  thoughts,  their  feelings, 
their  hardly  conscious  sentiments.  Tragedy  could  be  found 
for  this  in  Evreinov's  Theater  of  the  Soul  which  displays 
the  confused  feelings  and  thoughts  of  a  man  in  the  few 
seconds  before  he  shoots  himself.  For  contrast  the  next 
might  be  the  satirical  series  of  impressions  by  H.  L. 
Mencken  entitled  The  Artist.  This  shows  the  thoughts  of 
the  usual  group  at  an  afternoon  piano  recital,  including 
the  janitor  and  the  artist  himself.  More  piquancy  is  added 
by  the  necessity  of  making  the  audience  part  of  the  mise- 
eti-scene.  This  is  screamingly  funny.  Other  varieties  are 
not  so  easy  to  find,  but  a  good  balance  can  be  secured  by 
inserting  Alice  Gerstenberg's  Overtones  which  includes 
both  spoken  words  by  the  two  women  characters — the  over- 
tones— and  their  real  natures  who  deliver  their  actual 
thoughts  covered  by  the  speeches  of  ordinary  conversation. 
Three  plays  on  the  same  theme,  with  entirely  different 
treatments,  would  constitute  a  novel  arrangement.  I  am  in- 
formed of  one  single  set  made  to  illustrate  the  principle 
here  suggested.  The  author  chose  the  frequently  exploited 
theme  of  "  the  woman  unjustly  suspected,"  then  worked  it 
out  in  farce,  comedy,  and  tragedy.  Up  to  a  certain  point 
all  three  plays  are  exactly  alike;  with  the  appearance  of 


CHOOSING  THE  PLAY  43 

the  motivating  force  the  divergences  begin.  You  could 
even  secure  variety  by  repeating  one  act  from  a  Shakespeare 
drama  in  several  different  manners — Elizabethan,  the  usual 
way,  in  the  modern  style,  etc.  The  best  method  for  such  an 
experiment  would  be  for  the  various  directors  to  agree  upon 
the  schemes  they  would  follow.  If  possible  the  performers 
should  be  kept  in  ignorance  of  everything  except  their  own 
interpretations.  Even  the  scenery  should  not  be  displayed 
until  the  dress  rehearsal,  and  if  practicable,  each  cast  should 
be  rehearsed  at  a  different  time  to  prevent  any  one  from 
absorbing  another's  delivery  or  stage  business.  One  pro- 
ducer could  merely  ask  the  local  costumer  to  supply  cos- 
tumes for  the  scene,  accepting  anything  he  sent.  A  second 
might  reproduce  some  famous  artist's  designs,  as  those  of 
Boutet  de  Monvel  or  Byam  Shaw.  The  third  might  take 
a  hint  from  the  Russian  school  of  art  directors,  or  from 
such  strange  models  as  Granville  Barker's  colorful  and  ani- 
mated Twelfth  Night  and  A  Midsummer  Night's  Dream. 
In  Petrograd,  Evreinov  gave  the  first  act  of  The  Inspector- 
General  several  times  in  one  evening  in  the  different  styles 
of  modern  stage  methods.  He  imitated  the  systems  of  the 
Moscow  Art  Theater,  of  Gordon  Craig,  etc.,  parodying  the 
efforts  of  fanatics  who  want  to  make  of  the  theater  some- 
thing new  and  strange.  Such  a  performance  might  not  at- 
tract a  large  general  audience,  but  it  should  be  an  instruc- 
tive and  stimulating  kind  of  work  for  a  little  theater  or 
amateur  acting  group. 

As  you  learn  more  and  more  about  material  for  amateur 
acting  you  will  feel  the  temptation  growing  stronger  and 
stronger  to  devote  more  care  and  energy  to  production.  This 


44       PRODUCING  IN  LITTLE  THEATERS 

side  of  amateur  production  has  been  developed  more  than 
any  other.  Of  course  acting  has  changed  and  amateurs  are 
reflecting  the  better  methods  of  the  realistic  manner.  Yet 
acting  is  not  so  easy  to  transmit  by  the  printed  page.  No 
difference  in  equipment  is  needed  to  change  acting.  A  new 
stage  setting  is  a  picture  which  can  be  perpetuated  in 
photograph  and  illustration.  It  can  be  seen  by  the  entire 
world.  To  judge  acting  every  person  must  sit  through  a 
performance.  And  to  see  some  of  the  best  acting  one  some- 
times has  to  sit  through  the  worst  plays.  A  case  to  illus- 
trate this  is  the  American  tour  of  The  Lodger,  an  unin- 
teresting play  by  Vachell  which  contained  two  such  finished 
performers  as  Beryl  Mercer  and  Lionel  Atwell,  now  fully 
established  among  the  notables  of  our  professional  drama. 
Books  and  magazines  have  emphasized  the  artistic, 
scenic,  lighting,  costume,  phases  of  plays.  During  the  last 
ten  years,  floods  of  material  relating  to  such  topics  have 
nearly  swamped  the  student.  Professional  dressmakers, 
reputed  artists,  famous  architects,  have  been  lured  into  par- 
ticipation, and  in  many  instances,  advertisement.  Skilful 
publicity  has  achieved  its  usual  result  with  the  American 
populace — it  is  well  acquainted  with  all  the  names  and 
descriptions,  although  it  may  never  have  seen  the  actual 
thing.  So  we  glibly  discuss  horizonts,  cycloramas,  indirect 
lighting,  Fortuny  banners,  Reinhardt's  circus  methods,  plat- 
form and  revolving  stages,  without  realizing  at  all  the  in- 
superable impracticability  of  most  of  them  for  limited 
stages  and  incomes.  Some  of  the  mistakes  perpetrated 
under  unintelligent  enthusiasm  have  been  more  costly  in 
effort  than  in  mere  money.    One  well-known  book  on  mod- 


CHOOSING  THE  PLAY  45 

ern  aspects  of  the  theater  contains  discussions  of  everything 
except  the  acting!  It  is  only  just  to  add  that  many  of  the 
attempts  have  resulted  in  significant  results  and  advance. 
Up  to  a  certain  point  this  striving  for  decorative  or  stylistic 
effect  is  laudable,  for  as  acting  is  the  most  difficult  of  all 
the  arts,  it  is  in  methods  of  production  that  amateurs  can  do 
most.  But  remember  always  as  a  corrective  to  this  that 
"  the  play's  the  thing."  Never  kill  a  good  play  by  over- 
production. Never  slight  the  first  requisite  of  dramatics — 
good  acting. 

In  order  to  choose  wisely  you  must  know  many  plays. 
The  best  way  to  become  thoroughly  acquainted  with  a  play 
is  to  see  it  acted.  For  amateur  plays  this  is,  in  most  cases, 
manifestly  impossible.  You  must  read  plays.  Your  fellow 
actors  and  even  non-acting  associates  must  read  plays.  For- 
tunately the  best  plays — full-length  and  one-act — are  now 
fairly  accessible  in  print.  Read  announcements  and  notices 
of  all  things  dramatic.  Attend  as  many  performances  as 
you  can.  Above  all,  keep  lists  and  notes  of  all  plays  you 
consider  in  the  slightest  degree  possible  for  production  by 
your  organization. 

The  foregoing  may  appear  a  great  deal  to  consider  in  a 
matter  which  may  seem  to  be  merely  a  preliminary,  but  any 
director  will  tell  you  that  when  a  play  has  been  rightly 
selected  and  properly  cast,  the  longest  step  has  been  taken 
towards  its  successful  performance. 


CHAPTER  IV 
SOME  SPECIMEN  PROGRAMS 

In  order  to  secure  enough  material  from  which  to  make 
intelligent  choice  of  single  plays  to  include  in  a  program 
or  a  season,  the  direction  was  given  to  study  the  announce- 
ments and  lists  of  other  organizations,  especially  the  most 
successful.  In  doing  this,  a  beginning  director  should  not 
be  content  with  merely  glancing  at  a  group  of  titles,  and 
deciding  that  certain  dramas  made  deep  impressions  upon 
previous  audiences,  therefore  they  will  be  well  suited  to 
his.  This  is  seldom  the  case.  It  was  never  made  so  clear 
to  me  before  as  it  was  during  talks  with  the  director  of 
the  British  Arts  League  of  Service,  a  unique  organization 
which,  by  means  of  lorries,  takes  bills  of  one-act  plays  to 
small  towns,  villages,  and  out-of-the-way  places  where 
otherwise  regular  drama  would  never  penetrate.  Dealing 
almost  entirely  with  persons  who  have  never  been  theater 
trained,  the  director  has  to  choose  the  plays  most  carefully. 
That  such  a  delicate  adjustment  can  be  made  is  indicated 
by  a  recent  tour  of  six  weeks  made  by  this  troupe  with  one 
or  two  performances  every  day. 

It  will  not  be  enough,  therefore,  that  the  director  merely 
inspect  the  arrangement  and  titles  of  the  offerings  of  other 
organizations — he  must  try  to  extract  or  deduce  the  prin- 
ciples underlying  the  choice  and  order.  To  accomplish  this 
with  most  certainty  he  should  know  audiences  as  well  as 

46 


SOME  SPECIMEN  PROGRAMS  47 

plays,  but  failing  of  omniscience  he  must  approximate  as 
well  as  he  can.  Though  he  may  learn  keenness  of  judg- 
ment from  the  best  commercial  choosers  in  the  world,  he 
must  constantly  temper  that  knowledge  by  the  active  cor- 
rective that  most  amateur  productions  strive  for  upward 
stimulations,  increased  alertness,  and  dramatic  advance,  as 
well  as  justifiable  entertainment,  whereas  any  professional 
or  commercial  attempt  ends  with  the  realization  of  ade- 
quate diversion  and  large  profits. 

I  recall  that  an  orchestra  director  once  told  me  that  the 
place  for  a  symphony  on  an  evening's  program  was  first, 
immediately  after  the  members  of  the  audience  have  come 
in  from  the  streets,  and  while  their  minds  and  tempera- 
ments are  still  open,  fresh,  and  unprejudiced.  Yet  in  ac- 
tual arrangements  I  have  not  seen  that  principle  followed 
in  many  concerts.  Granting  that  such  an  order  might  be 
a  good  one  for  music,  one  must  declare  that  it  would  hardly 
produce  the  keenest  satisfaction  in  a  succession  of  short 
plays. 

The  most  helpful  procedure  for  considering  this  extremely 
important  problem  which  confronts  directors  at  all  times 
is  to  examine  a  few  programs — first  of  single  bills  of  short 
plays,  then  of  entire  seasons,  comment  upon  them,  and 
finally,  try  to  enunciate  a  few  guiding  principles  which 
have  been  followed,  and  which  may  serve  again. 

Let  us  look  first  at  this  bill  of  individually  excellent 
plays: — The  Drawback  by  Maurice  Baring,  Augustus  in 
Search  of  a  Father  by  Harold  Chapin,  Joint  Owners  in 
Spain  by  Alice  Brown,  Her  Tongue  by  Henry  Arthur 
Jones.    Every  one  of  these  is  a  good  play,  and  could  be 


48        PRODUCING  IN  LITTLE  THEATERS 

done  with  remarkably  good  effect  if  well  produced.  The 
first  is  a  mere  dialogue  between  a  youth  and  a  maiden  in 
which  by  persistent  and  insistent  questioning  she  discovers 
a  slight  impediment  to  their  marriage.  It  is  delightfully 
and  decidedly  English.  So  too  is  the  next,  in  which  an 
old  street  watchman  talks  to  his  graceless  son  returned 
from  America,  without  discovering  the  night  prowler's 
identity.  Perhaps  to  balance  the  all-male  cast  of  this, 
Joitit  Owners  in  Spain  followed.  Here  in  quaint  and  de- 
lightful fashion,  two  inmates  of  an  old  woman's  home  ar- 
range life  on  an  attractive  basis,  in  spite  of  past  tempers 
and  present  irritations.  Her  Tongue  veers  very  close  to 
farce.  A  wealthy  English  planter  back  from  Argentine 
believes  his  friend  has  found  a  nice  quiet  wife  for  him,  but 
discovers  what  the  title  of  the  play  indicates. 

Evidently,  since  Joint  Owners  has  proved  to  be  what  is 
expressively  described  as  "  sure-fire  "  or  "  fool-proof  "  it 
was  placed  at  what  by  common  consent  is  designated  as  the 
best  place,  the  high  point  of  the  bill.  The  last  offering  is 
intended  to  send  the  audience  home  in  a  satisfied,  good 
humor.  The  unusualness  of  the  material  in  the  first,  re- 
inforced by  the  charm  of  the  girl,  and  emphasized  by  the 
helpless  predicament  of  the  youth,  was  to  arrest  the  scat- 
tered interest.  The  second  play,  with  its  suggestion  of 
serious  pathos,  was  to  benefit  by  the  contrast.  All  these 
considerations  were  present  in  the  mind  of  the  director  or 
committee.  Centering  our  thought  upon  the  psychology  of 
the  theater  audience,  we  are  conscious  of  this  query: — Is 
there  enough  contrast  in  this  bill  to  hold  attention,  to  pro- 
duce a  heightened  effect,  to  build  up  to  a  climax?    Notice 


SOME  SPECIMEN  PROGRAMS  49 

that  there  is  not  once  a  decidedly  picturesque  appeal  to  the 
eye,  to  the  sense  of  sight.  There  is  no  inclusion  of  the 
romantic,  the  poetic,  the  suggestive,  the  deeply  imagina- 
tive, the  extravagant,  the  stimulating.  All  the  settings  are 
modern,  and  rather  ordinary.  The  characters  are  like  us. 
The  costumes  are  those  of  today.  The  situations  are  not 
extremely  unusual.  There  are  no  heightened  effects.  No 
single  play  stands  out  as  especially  significant  in  material 
or  treatment.  Such  a  combination  always  is  likely  to  pro- 
duce an  impression  of  drab  monotony  upon  the  audience. 
Each  play,  considered  separately,  is  a  good  play.  Each 
play,  presented  with  such  companions,  suffers  from  fellow- 
ship with  them. 

Frequently  the  laudable  effort  to  secure  contrast  or 
variety  o'erleaps  itself  and  falls  on  the  other  side.  To 
correct  this,  the  director  or  committee  must  consider  care- 
fully the  tastes  and  feelings  of  the  audience.  In  a  bill  of 
three  one-acts  presented  in  a  small  open-air  theater  to  re- 
fined people  of  much  theater  experience,  one  play  dealt 
with  a  probable  unseen  source  of  thoughts  which  may  sway 
the  lives  of  individuals,  while  the  second  was  a  tried  and 
proven  success,  an  actable  burlesque  of  modern  play- 
writing.  So  far  the  offerings  provided  mystery  and  broad 
satire.  Assuredly  what  the  bill  needed  was  some  brilliant 
spectacular  or  poetically  imaginative  appeal.  Yet  the  bill 
opened  with  a  French  farce,  The  Sponge  Cure,  described 
on  the  programs  as  "  another  rattling,  ridiculous  romp." 
As  its  water-throwing,  slap-stick  pushing  and  mawling  pro- 
gressed one  could  see  the  disgusted  spectators  curling  up 
around  the  edges  at  its  coarseness  and  inappropriateness. 


50        PRODUCING  IN  LITTLE  THEATERS 

Of  course,  the  directors,  being  wise,  replaced  it  immediately. 

A  program  from  a  different  city  opened  with  Aren't  They 
Wonders?  by  Charles  F.  Nirdlinger.  While  this  is  not  re- 
markable for  anything  it  will  pass  for  a  first  place  item. 
The  second  place  was  given  to  Bushido  (also  known  as 
Matsuo)  by  Takeda  Izumo,  first  made  famous  by  the  pic- 
turesque production  of  the  Washington  Square  Players. 
The  striking  variety  of  these  two  plays  made  the  choice 
of  a  concluding  item  delicately  difficult.  It  might  have 
been  better  to  delay  Bushido  until  last,  placing  just  before 
it  some  markedly  realistic  modern  "  shocker "  or  daring 
novelty.  Btcshido  would  inevitably  lift  the  evening  above 
the  ordinary  level.  There  was  great  risk  of  a  sudden  drop 
after  it.  The  jolt  was  administered  to  the  tensed  sensi- 
bilities by  Choosing  a  Career  by  G.  A.  de  Caillavet,  a  rough 
and  tumble  situation  of  mistaking  an  interloper  for  a 
vigorous  masseur.  For  a  jollification  at  a  convention  of 
druggists,  no  one  would  object  to  such  a  farce,  although 
even  for  such  an  occasion  it  is  not  nearly  so  funny  as  the 
scene  in  the  osteopath's  office  presented  in  the  Follies  a 
few  years  back.  But  for  an  audience  who  had  just  been 
stirred  by  the  combination  of  all  the  dramatic  and  theatric 
elements  of  Bushido,  this  insignificant  conclusion  was  com- 
pletely outside  the  tone,  the  mood,  the  spirit  of  the  evening. 

It  is  true  that  in  many  instances  the  quality  of  the  acting 
or  the  appeal  of  the  stage  picture  will  restore  the  balance 
disturbed  by  injudicious  choice  or  mistaken  order.  Quite 
as  frequently  the  opposite  will  spoil  all  anticipations,  and 
what  was  chosen  and  placed  to  be  the  strongest  part  of  the 
program,  drops  far  below  the  general  level.    The  first  half 


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Photograph  (S)  Hugh  Thomas 


Above :  The  Beggar's  Opera,  by  John  Gay.  This  set- 
ting, designed  by  C.  Lovat  Fraser  for  the  Lyric 
Theater,  Hammersmith,  London,  was  reproduced 
for  the  United  States.  It  represents  exteriors  as 
well   as   interiors. 

Below:  The  Rk'als,  by  Richard  I'rinslcy  Sheridan. 
Carnegie   Institute,   Pittslinrgh. 


SOME  SPECIMEN  PROGRAMS  51 

of  the  following  four  component  parts  to  be  considered  here 
promised  a  rising  scale.  The  first  short  play,  The  Idol,  by 
P.  B.  Corneau,  presented  a  fateful,  poetic  theme  of  remote 
India,  in  which  princes  are  doomed  to  become  warriors  and 
rulers,  instead  of  being  allowed  to  become  the  poets  and 
priests  they  would  prefer  to  be.  Quietly,  slowly  acted  in 
the  shadow  of  the  great  idol,  it  induced  attention  and  sym- 
pathy in  the  audience.  The  second  item  might  at  first 
glance  appear  to  carry  on  merely  the  same  feelings,  and 
doubtless  many  thought  so  as  they  read  of  The  Prodigal  Son 
by  Harry  Kemp,  "  sometime  before  the  beginning  of  the 
Christian  era,  on  a  hill  town  in  Galilee."  All  the  force  of 
contrast  burst  forth  in  startling  surprise  as  the  situation 
rapidly  developed  into  an  extravagant  satire,  parody,  and 
burlesque  of  all  things  in  general.  Running  the  risk  of 
shocking  the  sensibilities  of  a  few,  this  skit,  in  this  bill 
provided  an  excellent  contrast.  In  parenthesis,  it  also  is  a 
contribution  on  the  side  wherein  little  theaters  show  their 
greatest  lack,  the  less  drab,  serious,  lugubrious  mediums. 
Evidently  in  this  program  the  strongest  impression  was  to 
be  made  by  Barbara  by  K.  S.  Goodman.  This  trifle  pur- 
ports to  be  a  burlesque  on  the  crook  motives  still  popular 
on  all  stages.  By  bad  acting  and  inadequate  production 
this  became  a  tedious  bore,  so  that  the  palm  of  the  evening 
was  captured  by  the  last  drama,  Their  Country  by  N.  M. 
Kahn  and  M.  Leishin.  It  would  be  a  mistake  to  include 
this  in  many  bills  now,  for  it  showed  a  war  detail  no  longer 
of  wide  appeal.  By  timeliness  and  perfection  of  delineation 
in  most  of  the  roles,  it  was  lifted  far  above  the  general 
level  of  the  evening.    A  Jewish  father  and  mother,  v/ho  have 


52        PRODUCING  IN  LITTLE  THEATERS 

been  opposing  the  efforts  of  their  son  to  enhst  as  a  soldier, 
are  brought  by  the  headline  in  the  newspaper  of  the  cap- 
ture of  Jerusalem  to  the  astounding  realization  that 
through  "  their  country  "  the  world  struggle  concerns  them 
nearly. 

The  best  series  of  one-act  bills  to  study  is  that  of  the 
Washington  Square  Players.  Through  all  their  varying 
fortunes  they  provided  valuable  examples  of  what  to  do 
and  how  to  do  it.  Their  selections  are  better  for  investiga- 
tion than  those  of  other  organizations  because  they  acted 
so  many  plays  already  available  in  print,  or  shortly  after 
published.  Many  newer  and  supposedly  more  original 
groups  confine  themselves  so  closely  to  absolutely  new  crea- 
tions that  the  material  is  for  a  long  time  in  typescript,  and 
therefore  only  secured  by  the  distant  producer  with  much 
difficulty,  effort,  and  expense.  One  of  the  worthiest  rules 
the  Washington  Square  Players  followed  was  to  build  a 
program  so  carefully  that  most  of  it  carried  the  uncertain, 
the  startling,  the  outre.  Every  plan  for  either  a  single 
evening  or  a  long  season  should  be  based  upon  this.  Sec- 
ondly, variety  was  never  forgotten.  If  the  themes  them- 
selves did  not  offer  the  variety,  treatment  to  provide  it  was 
evolved.    One  or  two  bills  will  illustrate  these  statements. 

A  program  of  "  Comedies  of  Nations  "  was  arranged. 
Out  of  the  countless  possibilities  these  four  were  chosen: — 
Austrian — Literature  by  Arthur  Schnitzler,  American — 
Overtones  by  Alice  Gerstenberg,  Italian— TAe  Honorable 
Lover  by  Roberto  Bracco,  French — Whims  by  Alfred  de 
Musset. 

In  spite  of  some  quite  serious  mistreatments  in  the  actual 


SOME  SPECIMEN  PROGRAMS  53 

production,  this  was  an  excellent  selection.  Here  are  the 
faults  plainly  stated.  The  translator  or  producer  of  the 
first  play,  Literature,  brutally  and  inexcusably  changed 
material  and  situation  until  the  play  was  not  onty  quite 
different  from  its  original,  but  it  lost  its  final  point  and 
effect  entirely.  The  violation  of  the  text  can  be  indicated 
without  detailing  the  material.  In  the  original  all  of  the 
characters  are  on  stage  at  the  final  line,  which  is  sar- 
donically delivered  by  the  novelist.  As  here  acted  only  the 
Baron  and  his  mistress  were  on  the  stage: — the  novelist 
had  been  allowed  to  drift  off  at  some  indeterminate  time 
much  earlier.  This  butchery  of  the  play  you  will  compre- 
hend if  you  read  the  translation  in  Comedies  0}  Words. 
The  reputation  and  success  of  Overtones  are  too  well-known 
to  need  any  comment  here.  It  was  undoubtedly  felt  that 
The  Honorable  Lover  might  be  caviare  to  the  general  un- 
less the  daringness  of  its  theme  and  ideas  was  carried  be- 
yond the  realm  of  the  realistic.  Setting,  speed,  mode  of 
interpretation  were  exaggerated  until  a  spectator  was  car- 
ried away  by  the  verve  of  the  ensemble  and  forgot  entirely 
such  usual  matters  as  everyday  marital  contracts.  To  the 
great  credit  of  the  organization  it  must  be  said  that  this 
production  induced  in  audiences  just  that  receptivity  de- 
clared by  Charles  Lamb  to  be  the  only  proper  mood  for 
appreciating  the  scandalous  artificial  comedy  of  the  seven- 
teenth and  eighteenth  centuries. 

The  unusualness  of  Overtones,  the  shocks  of  The  Hon- 
orable Lover  made  most  welcome  the  exaggerated  precious 
sentimentality  of  the  last — which  might  much  better  have 
been  called  Caprice  in  English  as  it  is  in  French.    Again 


54       PRODUCING  IN  LITTLE  THEATERS 

the  telescoped  adaptation  was  as  little  like  the  original  as 
the  acting  was  like  that  of  the  de  Musset  pieces  at  the 
Comedie  Francaise,  but  the  trifle  was  exquisitely  sur- 
rounded, the  costumes  evoked  the  past,  and  the  daintiness 
of  the  dancer,  Lydia  Lopokova,  made  up  for  the  discarded 
elements,  because  these  did  not  impair,  as  did  the  changes 
in  Literature,  the  mild  but  charming  dramatic  effect  of  the 
little  play. 

Another  bill  of  this  same  group  will  further  illustrate  the 
principles  already  laid  down.  Trifles,  by  Susan  Glaspell  was 
produced  as  convincingly  as  though  the  scene  were  being 
lived  before  your  eyes.  With  a  welcome  rebound  from  the 
cold  stark  middle  West,  Another  Way  Out,  by  Lawrence 
Langner  poked  fun  at  one  of  the  Greenwich  Village  menages. 
It  may  have  been  scandalous,  but  in  a  New  York  theater 
it  was  so  funny  that  no  one  cared.  I  have  seen  this  same 
play  produced  far  from  New  York  by  directors  who  know- 
ing little  of  the  original  milieu  have  by  a  too  marked  striv- 
ing after  effect  in  the  costumes  cheapened  and  lowered  the 
tone  of  the  entire  play.  Bushido  not  only  harrowed  the 
emotions,  as  did  Trifles,  it  added  all  the  romantic  connota- 
tion of  old  Japan;  and  it  also  lured  the  eye  by  its  colorful 
and  brilliant  costumes.  From  this  tragedy  the  recoil  was 
bound  to  be  to  extravagant  farce.  This  was  provided  in 
Altruism  by  Karl  Ettinger,  in  which  the  dazzling  yellow 
sun  on  the  red  and  white  striped  awning  over  the  cafe  on 
the  Seine  quay  prepared  for  the  startling  rapidity  of  the 
afternoon  in  the  life  of  a  Parisian  beggar  who,  when  his 
day  is  done,  turns  down  his  ragged  trousers,  buttons  his 


Pli(jt(igrai>li   by   Xiauette 


Pliutograph   by  Eric   Stahlberg 


False  Gods,  by  Eugene  Brieux,  Smith  College,  North- 
ampton.    First  production   in  America. 


> 
o 


SOME  SPECIMEN  PROGRAMS  55 

shirt  collar,  dons  his  fashionable  coat,  reclaims  his  cane, 
calls  his  taxicab,  and  rolls  away. 

This  order  illustrates  the  principle  of  contrast  or  variety. 
The  next  will  show  that  and  in  addition  the  careful  pro- 
vision that  each  part  of  a  bill  shall  reinforce  and  help 
"  carry  "  all  the  other  portions. 

When  the  Washington  Square  Plays  were  sent  on  tour 
many  of  the  New  York  successes  had  to  be  discarded. 
Recognition  of  differences  in  audiences  dictated  that  elimi- 
nation. Some  were  retained  because  of  the  renown  they 
had  spread.  Costumes,  it  was  known,  would  help  others. 
Contemporary  allusions  would  make  others  timely.  In  one 
city  the  following  evening  of  five  one-acts  made  up  the 
entertainment. 

The  audience  was  attracted  first  by  In  April  by  Rose 
Pastor  Stokes.  So  simple,  direct,  and  pathetic  was  the 
appeal  of  this  scene  that  every  listener  was  won  to  sym- 
pathetic attention.  No  attempt  was  made  to  utilize  that 
stirred  sympathy  in  the  next  item.  On  the  contrary,  en- 
tirely different  emotions  were  appealed  to  in  The  Road- 
house  in  Arden  by  Philip  Moeller,  in  which  extravagant 
fun  is  provided  by  Shakespeare  and  Bacon  around  the 
interesting  but  workaday  matter  of  creating  actable  plays. 
This  skit  had  all  the  effect  of  a  colored  cartoon.  The  next 
place — the  middle  of  the  program — was  filled  by  the  only 
really  significant  play  of  the  evening,  A  Miracle  of  Saint 
Anthony  by  Maurice  Maeterlinck.  Here  was  a  treatment 
which  might  appear  at  first  glance  almost  sacrilege,  but 
which  as  the  action  progressed  became  plainer  as  the  expo- 


56        PRODUCING  IN  LITTLE  THEATERS 

sition  by  ironic  and  soberly  satiric  methods  of  a  deeply 
moving  spiritual  truth.  In  it  realism  and  mystery  met  on 
common  ground.  In  permanency  of  impression  this  was 
the  climax  of  the  performance. 

The  necessary  relief  from  the  tenseness  of  the  religious 
homily  was  provided  by  Anton  Tchekoff's  A  Bear.  I  be- 
lieve some  other  play  would  have  served  the  purpose  better, 
but  this  one  requires  only  three  performers  in  an  easily  set 
interior.  The  action  is  so  noisy  that  it  seemed  too  boister- 
ous for  the  company  and  the  theater-trained  audience.  As 
there  must  be  no  uncertainty  of  effect  at  the  end  of  an  eve- 
ning, an  assured  success  must  be  included.  If  it  could  be 
unusual  to  the  point  of  startling,  colorful  to  the  limit  of 
dazzling,  familiar  yet  surprising,  literary  yet  including 
timely  allusions,  farcical  to  the  height  of  uproariousness,  so 
much  the  better.  All  these  ingredients  went  into  the  com- 
position of  Philip  Moeller's  Helena's  Husband;  every  one 
of  them  impresses  some  portions  of  all  audiences. 

If  more  examples  of  good  program  planning  are  desired 
they  are  afforded  by  the  following,  chosen  from  groups  in 
all  parts  of  the  United  States. 

I.  The  Florist  Shop  by  Winifred  Hawkbridge;  senti- 
mental, pathetic  comedy  with  slight  plot,  admitting  of  any 
kind  of  treatment.  Joint  Owners  in  Spain.  Glory  of  the 
Morning  by  Ellery  Leonard;  a  drama  of  real  power  with 
American  Indian  and  French  settler  costumes  in  forest 
scenery.  The  Lost  Silk  Hat  by  Lord  Dunsany;  a  farcical 
whimsicality  with  a  cast  of  all  men  which  nicely  balances 
the  all-women  cast  of  Joint  Owners. 


SOME  SPECIMEN  PROGRAMS  57 

II.  The  Girl  in  the  Coffin  by  Theodore  Dreiser;  a  pow- 
erful drama  of  modern  tragedy  in  a  large  mill  town.  Somber 
but  excellent.  The  Man  of  Destiny  by  G.  Bernard  Shaw; 
comic  treatment  of  Napoleon  at  twenty-six,  on  the  verge 
of  a  romantic  adventure  in  Italy,  1796. 

III.  The  Constant  Lover  by  St.  John  Hankin;  a  charm- 
ing dialogue  in  a  woodland  setting  on  the  theme  that  "  con- 
stant "  does  not  have  to  mean  "  with  the  same  girl."  The 
Queen's  Enemies  by  Lord  Dunsany ;  a  tragedy  of  old  Egypt 
in  a  stone  chamber  below  the  Nile.  In  this  the  costumes 
help  much.  Master  Pierre  Patelin;  fifteenth  century  French 
farce,  with  picturesque  settings,  extravagant  situations,  and 
historical  novelty. 

IV.  Simoon  by  August  Strindberg;  a  passionate  tragedy 
in  a  marabout  during  a  sandstorm.  His  Widow's  Hus- 
band by  Jacinto  Benavente;  a  modern  comedy  of  an  ex- 
travagant— but  possible — after-effect  of  a  life.  Pierrot  and 
the  Widow  by  Clin  Williams  and  Marie  Barrett,  a  pan- 
tomime. 

V.  Lonesome-Like  by  Harold  Brighouse;  a  bit  of  Lan- 
cashire sentiment.  The  Marriage  Will  Not  Take  Place  by 
Alfred  Sutro;  a  dialogue  of  English  society.  In  the  Zone 
by  Eugene  O'Neill;  a  tense  war  play  of  a  tramp  steamer 
forecastle.  Everybody's  Husband  by  Gilbert  Cannan;  deli- 
cate fantasy  of  the  dreams  of  a  girl  the  night  before  her 
wedding;  variations  on  the  theme,  "all  husbands  are  just 
alike." 


S8       PRODUCING  IN  LITTLE  THEATERS 

VI.  Over  the  Hills  by  John  Palmer;  a  comedy  of  the 
call  of  the  open  road  which  reaches  a  sedentary  husband. 
Circles  by  George  Middleton;  a  problem  of  the  marital 
relationship  as  it  affects  the  second  generation.  The  Dark 
Lady  of  the  Sonnets  by  G.  Bernard  Shaw;  extravagant 
fooling  with  Shakespeare  and  Queen  Elizabeth. 

VII.  The  Maker  of  Dreams  by  Oliphant  Down;  dainty 
Pierrot  costume  fancy.  The  Dumb  Cake  by  Arthur  Mor- 
rison and  Richard  Pryce;  pathetic  sentiment  in  a  London 
areaway.  A  Night  at  an  Inn  by  Lord  Dunsany;  a  grip- 
ping tragic  combination  of  realism  and  supernaturalism 
developed  by  an  all-men  cast. 

Before  passing  on  from  this  topic  of  selection  and  ar- 
rangement of  one-act  bills  there  is  one  modifying  statement 
to  add.  Among  all  unforeseen  things  theatrical  the 
strangest  is  the  change  made  in  anticipations  by  realization. 
So  every  principle  of  good  selection  and  climactic  sequence 
ever  enunciated  is  likely  to  be  nullified  by  the  two  always 
variable  factors  of  the  production — the  quality  of  the  act- 
ing, and  the  audience.  Why  is  it  that  Why  Marry?  should 
succeed  everywhere  in  America,  yet  fail  in  London?  Why 
is  it  that  The  "  Ruined "  Lady  should  please  Londoners, 
yet  bore  New  Yorkers?  Why  is  it  that  Russians  (we  are 
told)  acclaim  The  Cherry  Orchard  a  masterpiece,  yet  every 
performance  I  have  heard  reported,  or  have  sat  through 
myself,  contradicts  the  rhapsodies  of  those  enthusiasts  who 
have  never  seen  a  performance?  Why  did  INIiss  Maude 
Adams,  so  successful  in  everything  else  allow  herself  to  be 


SOME  SPECIMEN  PROGRAMS  59 

drawn  into  so  certain  a  failure  as  Chanticleer?  Why  was 
The  Jest  acclaimed  by  every  American  critic,  yet  coldly 
criticized  by  so  many  in  London? 

Great  acting  can  frequently  raise  the  effect  of  an  ordi- 
nary play  to  signal  success.  Poor  acting  can  destroy  even 
a  so-called  "  fool-proof  "  drama.  Any  consideration  of  the 
acting  falls  outside  this  present  chapter,  but  the  influence 
of  the  actual  impersonators  of  the  roles  must  always  be 
kept  in  mind  while  arrangements  are  being  outlined. 

The  second  factor  is  one  already  listed  as  of  great  im- 
portance in  determining  play  selection.  The  danger  of 
simply  and  repeatedly  "  giving  the  public  what  it  wants  " 
always  results  in  giving  the  public  what  some  hidebound 
and  narrow-minded  producer  thinks  it  wants.  The  oppo- 
site attempt — to  make  audiences  come  to  a  theater  to  sit 
through  only  what  the  manager  wants  to  produce  results 
just  as  fatally.  One  of  two  ideals  must  be  followed  or  com- 
bined— you  must  find  the  public  for  your  plays,  or  you 
must  find  the  plays  for  your  public; — or  you  may  to  some 
extent  combine  them. 

The  inclusion  of  long  plays  introduces  more  weightily 
the  factor  of  the  acting  ability  of  the  company.  Although 
it  is  not  an  amateur  group,  the  New  York  Theater  Guild 
has  that  stability,  and  that  policy,  and  that  audience,  which 
reflect  most  nearly  the  conditions  surrounding  an  amateur 
repertory  or  community  theater.  As  the  kind  of  play 
changes,  and  the  demands  for  number,  appearance,  ability, 
vary,  the  personnel  of  the  company  varies.  Here  the 
quality  of  play  is  decided  upon  first,  then  the  company 
is  recruited  to  fit  it.    In  most  amateur  groups  the  process 


6o        PRODUCING  IN  LITTLE  THEATERS 

would  have  to  be  reversed.  The  quality  of  the  acting  is 
more  or  less  decided;  plays,  then,  must  be  chosen  to  fit  it. 

The  suitability  of  any  single  play  is  too  dependent  upon 
local  contingencies  to  be  more  than  broadly  hinted  at  here. 
No  one  can  decide  the  momentous  matter  of  choosing  a 
full-length  play  unless  he  knows  everything  about  the  act- 
ing group,  the  director,  the  stage  scenery  and  equipment, 
the  audience,  what  material  has  preceded  and  what  will 
follow. 

A  couple  of  lists  will  indicate  how  some  organizations 
have  decided  for  themselves  this  matter  of  sequence  in  long 
plays.  All  of  these  are  so  well  known  that  no  comment  is 
necessary.  Many  of  these  are  particularized  to  some  de- 
gree in  the  Appendix  list  of  two  hundred  plays  suitable  for 
amateurs. 

I.  The  Lady  from  the  Sea  by  Henrik  Ibsen.  The 
Learned  Ladies  by  Moliere.  The  Thunderbolt  by  A.  W. 
Pinero.  The  Maternal  Instinct  by  Robert  Herrick.  The 
Passing  of  the  Torch  by  Paul  Hervieu.  The  Stranger  by 
G.  Giacosa.  The  Coffee  House  by  Carlo  Goldoni.  June 
Madness  by  Henry  K.  Webster. 

II.  Lady  Patricia  by  Rudolph  Besier.  The  Pigeon  by 
John  Galsworthy.  The  Gods  of  the  Mountain  by  Lord 
Dunsany.  Sacred  Ground  by  G.  Giacosa.  Hedda  Gabler 
by  Ibsen. 

III.  A  Woman's  Way  by  Thompson  Buchanan.  Prunella 
by  Laurence  Housman.    The  Truth  by  Clyde  Fitch.    Pina- 


SOME  SPECIMEN  PROGRAMS  6i 

jore  by  Gilbert  and  Sullivan.  Green  Stockings  by  A.  W.  E. 
Mason.  The  Learned  Ladies  by  Moliere.  The  Importance 
of  Being  Earnest  by  Oscar  Wilde.  The  World  and  His 
Wife  by  Jose  Echegaray.  You  Never  Can  Tell  by  G. 
Bernard  Shaw,  Her  Husband's  Wife  by  A.  E.  Thomas. 
Fanny  and  the  Servant  Problem  by  Jerome  K.  Jerome. 
Mrs.  Bumstead-Leigh  by  H.  J.  Smith. 

IV.  Joy  by  John  Galsworthy.  The  Playboy  of  the 
Western  World  by  John  M,  Synge.  An  Eye  for  an  Eye  by 
I.  L.  Caragiale.    The  Golden  Apple  by  Lady  Gregory. 

V.  The  Pigeon  by  Galsworthy.  Magic  by  G.  K.  Ches- 
terton. The  Cassilis  Engagement  by  St.  John  Hankin. 
Art  and  Opportunity  by  Harold  Chapin.  The  Harle- 
quinade by  Calthrop  and  Barker.    Don  by  Besier. 

The  evident  means  for  securing  greatest  variety  at  mini- 
mum of  effort — at  least  in  planning — is  to  combine  in  a 
season  both  one-act  and  full-length  plays.  Regular  alterna- 
tion of  the  two  would  provide  the  first  plan.  This  would 
result,  not  only  in  relief  of  interest  for  the  audience,  but  in 
relief  of  work  for  the  director.  If  he  could  select  his  long 
plays  far  enough  in  advance  he  would  be  rather  free  to 
adopt  the  most  recent  productions  in  the  shorter  forms. 
Then,  too,  if  he  knows  how  to  organize  and  train  assistants 
to  whom  directing  may  be  delegated  safely,  he  can  con- 
centrate on  the  productions  requiring  most  attention,  care, 
and  time.  With  a  conscientious  corps  of  willing  assistant 
directors  he  might  be  able  to  keep  two  programs  xmder 


62        PRODUCING  IN  LITTLE  THEATERS 

rehearsal  at  the  same  time,  devoting  the  major  portion  of 
his  energies  to  drilling  the  actors  in  the  long  play.  At  the 
beginning  of  rehearsals  of  the  one-act  plays  he  should  out- 
line with  as  little  possible  chance  for  misunderstanding  his 
methods  and  ideals.  After  that  the  entire  process  of  block- 
ing out  the  action,  rehearsing  the  lines,  building  the  interest 
should  be  carried  out  by  the  assistants.  Before  the  dress 
rehearsal — as  much  before  as  possible — the  director  him- 
self should  assume  charge.  With  his  enthusiasm  fresh  and 
interest  unspoiled  by  the  routine  of  constant  repetitions,  he 
should  be  able  to  produce  remarkable  effects.  As  director 
and  assistants  work  in  this  relation  cooperative  smoothness 
will  develop  constantly.  Any  member  of  an  acting  group 
knows  how  the  appearance  of  a  "  polisher  "  or  extra  coach 
during  the  last  rehearsals  will  induce  a  cast  to  "  step-up  " — 
if  the  cast  has  confidence  in  him,  or  if  he  can  show  the 
dramatic  value  of  what  he  is  trying  to  obtain  and  can 
induce  them  to  follow  the  technique  to  secure  just  those 
results.  Details  of  lacks  which  he  can  supply  and  defects 
which  he  can  correct  will  be  discussed  in  the  chapter  on 
rehearsing. 

If  it  is  not  practicable  to  alternate  performances  of  one- 
act  with  full-length  plays,  some  fortunate  combination  may 
be  built  up  from  the  demands  and  opportunities.  Costume 
and  fanciful  plays  often  seem  to  answer  exactly  to  the  op- 
portunity, but  the  season  may  be  young,  the  returns  purely 
speculative,  the  budget  exigent;  so  that  beautiful  pic- 
turesqueness  may  have  to  be  sacrificed  to  the  cruel  de- 
mands of  common  sense.  There  may  be  voiced  the  feeling 
that  there  have  been  enough  old  "  classics  "  and  "  stand- 


SOME  SPECIMEN  PROGRAMS  63 

bys."  But  the  best  modern  drama  for  contrast  requires 
too  high  a  royalty,  or  requires  newly-built  scenery.  Per- 
haps, somewhere  in  foreign  literature  can  be  found  a  play 
answering  to  the  needs  of  the  audience  and  material  equip- 
ment of  the  group,  which  has  not  been  copyrighted  in  this 
country.  Perhaps  the  variety  can  be  found  in  some  original 
production  by  a  local  playright,  although  from  the  entering 
wedge  of  such  a  selection  may  come  the  widening  crack 
which  will  finally,  and  that  rather  soon,  split  the  organi- 
zation. An  entire  season  of  nothing  except  original  local 
typoscripts  would  prove  to  be  a  deadly  bore  for  any  per- 
sons except  workshop  supporters,  all  of  whom  aspire  to  be 
writers,  actors,  designers,  producers;  or  unless  the  superla- 
tive excellence  or  daring  originality  of  the  plays  attract  a 
general  public.  Such  a  season,  if  one  may  judge  from  re- 
ports and  opinions,  depends  for  success  and  permanence 
upon  purely  local  conditions.  Many  have  been  started; 
few  have  survived,  unless  combined  in  operation  with  some 
other  principle  of  selection  and  arrangement. 


CHAPTER  V 
REHEARSING  THE  PLAY 

After  a  play  has  been  chosen  for  presentation,  the  next 
two  important  steps  are  to  appoint  a  director  or  producer, 
and  to  select  the  cast.  There  are  rumors  of  cooperative 
assemblies  in  which  the  ideal  is  that  every  one  concerned 
shares  equally  in  the  responsibility,  equally  in  the  work, 
equally  in  the  attainment,  equally  in  the  success.  It  is  dif- 
ficult to  secure  satisfying  explanations  of  such  endeavors. 
When  an  interested  questioner  asks  for  facts,  he  is  answered 
with  ideals.  When  he  insists  on  results,  he  is  offered 
prospectuses.  When  he  attends  performances,  he  is  assured 
they  are  merely  exercises.  There  is  no  doubt  that  co- 
operative effort  can  be  utilized  in  dramatic  production,  but 
so  far  as  I  have  observed  a  great  deal  of  this  so-termed 
dramatic  activity  turns  out  to  be  playground  recreation, 
neighborhood  pageantry,  laboriously  revived  folk-dancing, 
spectacular  drills  and  processions,  juvenile  shows,  and  mis- 
cellaneous improvisation,  which  while  showing  some  ele- 
ments utilized  also  in  dramatic  entertainment,  has  as  little 
connection  with  the  real  art  of  the  theater  as  has  Cleopatra's 
Night  in  a  three  ring  circus  with  the  Lysistrata  of  Aristo- 
phanes. 

This  is  not,  in  any  sense,  to  belittle  the  worthy  endeavor 
of    the   wide-spreading    community    movement.      To    this 

6i. 


REHEARSING  THE  PLAY  65 

every  element  which  can  contribute  should  offer  its  hearty 
support.  But  there  should  be  a  distinction  drawn  between 
mere  recreational  pursuits  and  performed  drama.  Ballets 
are  provided  in  old-fashioned  opera,  but  no  one  would  seri- 
ously claim  that  they  constitute  opera.  Nor  should  any 
one  confuse  with  play  production  a  series  of  national  dances, 
or  a  historical  procession,  delightful  as  active  participation 
in  these  may  be. 

There  are  some  attempts  in  certain  amateur  groups  to 
try  to  dispose  of  a  director.  Armed  with  some  high- 
sounding  Utopian  pronunciamento  about  the  "  democracy 
of  the  arts  "  they  pretend  to  believe  that  a  play  should  be 
the  result  of  a  voluntary  cooperative  association  demo- 
cratically working  out  its  own  destiny.  You  can  find  plans 
and  arrangements  for  such  ideal  societies  in  many  of  the 
books  dealing  with  dramatic  activity.  Investigation  of  the 
actual  conditions  lauded  by  these  books  will  generally  dis- 
close the  truth  that  the  most  pleasing  and  successful  of 
these  real  democratic  efforts  are  not  dramatic  in  the  strict 
sense,  or  that  the  apparently  independent  workers  are  in 
all  the  rehearsing  and  the  producing  quite  as  subservient 
to  some  directing  mind  as  are  the  actors  of  a  professional 
theater,  or  that  the  results  of  the  system,  while  doubtlessly 
great  fun  and  education  for  the  performers,  do  not  expe- 
ditiously or  assuredly  move  into  the  production  of  plays. 
Enthusiasts  are  likely  to  confuse  the  intention  with  the 
result,  the  desire  with  the  ability,  the  means  with  the  end, 
the  struggle  with  the  victory.  These  attempts  may  be  ex- 
cellent training  schools  for  later  achievements,  but  it  is  as 
mistaken  to  term  them  successful  because  of  that  as  it 


66       PRODUCING  IN  LITTLE  THEATERS 

would  have  been  to  insist  The  Lodger  was  a  great  play 
because  it  numbered  in  its  cast  two  finished  performers. 
There  are  reports  of  one  acting  society,  at  least,  which 
actually  tries  to  put  such  ideas  into  practice.  These  ac- 
counts declare  that  the  performances  of  that  group  are 
the  strangest  and  the  funniest  one  can  imagine,  while  the 
rehearsals  are  chaos.  Good  productions  are  the  result  of 
good  directing.  Efficient  directing  can  make  a  success  of 
probable  failure.  Misguided  or  ignorant  directing  can  spoil 
an  anticipated  success. 

A  director's  training  begins  long  before  he  is  given  his 
first  script  to  put  upon  the  boards.  He  need  not  necessarily 
have  graduated  from  either  a  school  of  acting  or  the  pro- 
fessional stage.  Many  of  the  best  directors  in  the  country 
are  indifferent  or  poor  actors.  The  qualities  of  the  two 
interests  are  entirely  different.  The  actor  is  able  to  do  cer- 
tain things;  the  director  is  able  to  induce  other  people  to 
do  certain  things.  The  latter  must  know  first  of  all  what 
is  to  be  done;  he  must  know  secondly,  just  how  it  may  be 
done;  he  must  be  able  thirdly,  to  cause  the  actor  under 
his  charge  to  do  that  thing  in  exactly  the  proper  manner 
and  at  the  correct  time. 

Leaving  aside  the  questions  as  to  whether  a  director  is 
better  for  knowing  intimately  the  theater  or  for  being  ver- 
dantly free  from  any  of  its  technical  requirements,  this 
much  is  as  clear  as  day,  that  starting  from  beautiful  igno- 
rance, he  will  have  to  absorb  and  adopt  through  bitter  ex- 
perience a  vast  number  of  fundamentals  if  he  ever  hopes 
to  produce  with  least  effort  for  greatest  success.    This  state- 


Bennett    School    Little    Theater,    Millbrook,    under    thj 
direction  of  Charles   Rann  Kennedy. 


Above  :     Antigone,  by  Sophocles. 

Below:      Setting    for    llie    I''ool    frain    titr    Hills,    by 
Charles  Rann  Kennedy. 


Phutograjilis   by   Eric   Slalilberg 

The  Merchant  of  Venice,  Smith  College,  Northampton. 


REHEARSING  THE  PLAY  67 

ment  of  least  effort  means  least  effort  for  the  performers, 
not  himself  only. 

The  simplest  kind  of  illustration  will  suffice  for  this.  Sup- 
pose an  enthusiastic — but  inexperienced — director  is  given 
a  modern  English  comedy  to  produce.  It  looks  easy — it  is 
merely  regular  life  transferred  to  a  stage.  He  may  decide 
that  the  first  act  should  cover  thirty  minutes;  but  with  no 
appreciation  of  the  simple  fact  that  amateurs  can  never 
deliver  lines  as  rapidly  and  tellingly  as  professionals,  he 
starts  to  rehearse  the  act  as  it  was  written.  Early  repeti- 
tions will  always  consume  from  twice  to  three  times  as  long 
a  period  as  the  finished  performance  should,  so  counting 
on  the  speedy  spurt  of  dress  rehearsal  he  plods  his  lengthy 
way.  Then  as  the  date  of  presentation  approaches  he  sud- 
denly realizes  that  his  first  act  is  running  to  forty  minutes. 
His  cast  has  been  rehearsed  at  their  utmost  rapidity;  they 
can  work  no  faster  if  they  are  to  live  through  the  entire 
evening.  He  may  in  his  heart  despise  an  audience  which 
will  not  sit  through  his  four  hour  performance,  but  some 
inklings  of  common  sense  tell  him  he  cannot  hold  them 
until  midnight,  so  he  desperately  begins  to  cut  right  and 
left.  His  actors  cannot  unlearn  in  a  day  the  speeches  they 
have  been  studying  for  weeks.  They  are  not  sure  of  cuts. 
Their  confidence  in  him  vanishes;  their  confidence  in  them- 
selves oozes.  Passages  are  deleted  at  final  rehearsals,  busi- 
ness is  changed,  the  pace  is  forced,  with  the  inevitable  re- 
sult that  at  the  performance  the  "  reproduction  upon  the 
stage  of  actual  life  "  has  become  a  breathless  series  of 
schoolroom  recitations.    The  first  act  may  go  well,  but  the 


68       PRODUCING  IN  LITTLE  THEATERS 

latter  scenes  will  suffer,  for  the  untried  amateurs  will  have 
exhausted  most  of  their  energy,  and  the  play,  instead  of 
mounting  in  intensity  will  sink  to  a  dull  level,  across  which 
it  will  drag  its  weary  length. 

The  thousand  and  one  other  little  matters  of  acting  effec- 
tively— call  them  tricks  or  technique  or  universal  experi- 
ence, as  you  please — which  must  be  recognized  by  the  di- 
rector, such  as  turning,  shifting  the  weight  to  start  across 
stage  in  a  graceful  manner  instead  of  suggesting  a  pair  of 
scissors,  the  use  of  the  hands,  the  much  more  difficult  art 
of  not  using  the  feet,  the  knowledge  of  how  to  use  one's 
height  or  how  to  counteract  it,  the  principle  of  building 
suspense  by  quieting  the  voice  and  action,  the  powerful 
effect  of  pauses,  the  subdued  reaction  to  emotions,  rhythm, 
the  unconsciousness  of  pure  comedy,  all  these  he  may  learn 
in  time.  But  he  is  an  infinitely  better  director  if  he  begins 
with  some  appreciation  of  them  and  a  humble  desire  to 
learn  more,  instead  of  sweeping  them  aside  as  beneath  him 
or  unessential. 

A  director  must  be  sensitive  to  the  changing  psychology 
of  the  audiences.  He  must  know  of  the  decided  change 
which  has  come  over  good  acting  during  the  past  fifteen 
years.  He  will,  if  he  really  cares  for  his  work,  welcome 
the  added  difficulty  of  securing  results  with  the  modern 
moderate  methods. 

The  producer's  tangible  work  begins  when  the  copy  of 
the  play  is  put  into  his  hands.  It  should  end  when  the 
curtain  rises  upon  the  first  performance.  This  is  the  ideal 
term,  though  in  long  runs  he  may  have  to  revise  for  weeks 
until  the  play  is  in  perfect  working  order. 


REHEARSING  THE  PLAY  69 

In  certain  things  a  director  may  be  subject  to  the  con- 
trol of  a  committee,  but  in  the  actual  development  of  the 
play  from  planning  to  performance  he  should  be  in  abso- 
lute control.  His  word  should  be  law.  This  does  not  mean 
that  he  will  not  be  open  to  suggestion,  that  he  will  not 
listen  to  reason,  that  he  may  not  be  consulted,  but  it  does 
mean  that  if  the  play  is  intrusted  to  him,  the  responsibility 
for  its  conduct  must  be  his.  It  is  merely  fair,  therefore, 
that  all  the  opportunity  should  be  his.  Executive  boards 
of  acting  societies,  once  they  have  appointed  a  director, 
should  insist  upon  compliance  with  all  his  plans.  Amateurs 
are  likely  to  grow  restive  under  supervision  from  one  of 
their  own  members;  so  do  professionals.  As  I  write  this, 
the  call-board  of  one  New  York  theater  bears  a  notice  to 
the  company  that  all  directions  issued  by  the  stage  manager 
are  to  be  obeyed  as  coming  from  the  office.  They  are  to 
be  carried  out,  though  complaints  will  be  heard  by  the 
officials  of  the  producing  company.  If  persons  whose  pro- 
fession is  acting  have  to  be  reminded  of  such  a  matter  is 
it  any  wonder  that  an  amateur  producer  is  the  marked  vic- 
tim of  intended  murder  by  nearly  every  cast  he  directs? 
One  of  the  proverbs  of  amateur  acting  is  that  the  producer 
has  no  friends.  Every  man's  hand  is  against  him.  Even 
the  amateur  authors  whose  plays  he  directs  can  tell  you 
why  their  offspring  were  not  instantly  adopted  by  the 
public. 

Equipped  with  an  intimate  knowledge  of  how  effects  are 
secured  upon  the  stage,  the  producer  studies  the  play  to 
determine  what  effects  it  demands,  and  what  are  the  best 
methods  of  securing  them.     In  addition  to  his  knowledge 


70       PRODUCING  IN  LITTLE  THEATERS 

of  sound  and  legitimate  methods  of  theatrical  skill,  he 
should  have  a  freshness  of  attack  and  a  novelty  of  treat- 
ment to  infuse  animation  and  enthusiasm  into  amateurs 
dealing  with  plays  frequently  novel  and  often  even  bizarre. 
The  producer  must  serve  as  active  interpreter  between  the 
page  and  the  actors,  and  then  between  the  actors  and  the 
audience.  He  must  know  the  play  better  than  any  single 
performer.  He  must  fed  the  play  as  any  spectator  may. 
He  must  bring  the  play  from  the  dramatist  to  the  audience 
by  means  of  the  cast  upon  the  stage. 

He  must  know  the  value  of  rhythm  within  the  act  as 
well  as  the  progression  of  climactic  interest  throughout  the 
entire  development.  He  must  be  able  to  determine  just 
what  effects  are  to  be  secured  and  how  to  induce  the  indi- 
viduals concerned  to  produce  those  effects.  In  all  cases  of 
several  possible  interpretations  he  must  have  history,  tra- 
dition, common  sense,  superior  impressiveness,  consistency 
of  character  delineation,  or  quotable  authority  from  the 
text  of  the  play  itself,  to  support  his  decisions. 

The  most  frequently  cited  case  of  various  possible  de- 
liveries of  a  short  speech — all  good  as  well  as  defensible — 
is  the  pair  of  words  in  Macbeth.  Lady  Macbeth  is  urging 
her  husband  to  murder  his  king. 

Macbeth.    If  we  should  fail — 

Lady  Macbeth.    We  fail! 

But  screw  your  courage  to  the  sticking-place, 

And  we'll  not  fail. 

How  should  "  we  fail  "  be  delivered? 

The  Folio  of  1623  prints  a  question  mark  after  it.    Mod- 


REHEARSING  THE  PLAY  71 

em  editors  are  divided  upon  the  punctuation,  the  inflection, 
the  meaning.  Mrs.  Siddons  is  reported  as  having  used  suc- 
cessively three  different  intonations. 

When  MalvoHo  in  Twelfth  Night  reads  in  the  letter  he 
has  found,  "  If  this  fall  into  thy  hand,  revolve,"  does  the 
last  word  mean  "  consider  in  thy  mind,"  or  "  spin  around 
upon  your  heels  "?  This  latter  is  done  by  most  actors  in 
attempting  to  "  fatten  "  an  already  rich  role. 

Modern  dramatists  are  quite  careful  in  indicating  inter- 
pretations, but  not  always  do  they  settle  matters.  In  a  re- 
hearsal of  Don  by  Rudolph  Besier,  a  discussion  arose  as  to 
just  how  the  title  character  was  to  behave  at  a  certain  en- 
trance. The  text  was  scrutinized  and  finally  this  detail  was 
seized  upon.  As  he  entered  the  room,  though  the  situation 
was  a  strained  one,  he  saluted  his  fiancee  with  the  off-hand 
exclamation,  "  Hullo,  Ann."  That  seemed  to  indicate  that 
he  had  no  appreciation  of  the  terrible  mess  in  which  he 
had  involved  himself,  while  it  did  give  a  clue  of  detached 
nonchalance  to  his  acting  at  that  point. 

The  director  must  know  the  value  of  rhythm  within  the 
act  as  well  as  the  progression  of  climactic  interest  through- 
out the  entire  development.  In  practically  no  scene  does 
the  mood,  the  feeling,  the  emotion  remain  unchanged  for 
many  consecutive  minutes. 

It  will  be  easy  to  illustrate  this  from  a  single  scene  taken 
from  Twelfth  Night— the  fifth  act.  Three  different  sets  of 
characters  give  exhibitions  of  different  kinds  of  foolery  with 
the  Clown.  Then  follows  the  Duke's  indignant  charge 
against  Antonio  for  having  been  a  pirate.  This  accusation 
the  latter  as  sturdily  repudiates,  but  before  the  matter  can 


72        PRODUCING  IN  LITTLE  THEATERS 

be  carried  very  far  Olivia  enters  and  to  the  absolute  con- 
fusion of  both  Duke  and  Viola  complains  against  the  boy 
for  breach  of  trust  until  the  Duke,  perceiving  that  his  cruel 
fair  dotes  on  his  servant  orders  Cesario  out  to  be  slain. 
And  then  with  the  word  "  husband  "  Olivia  throws  the 
already  complicated  situation  into  confusion,  for  now  Viola 
is  amazed.  Rage  at  the  boy's  duplicity  sways  the  Duke 
when  he  hears  the  Priest's  corroboration  of  Olivia's  claim. 
Yet  Shakespeare  does  not  allow  this  strained  and  serious 
tenseness  to  continue  long,  for  in  the  midst  of  it,  in  stum- 
bles Sir  Andrew  Aguecheek  with  a  broken  head,  accusing 
the  puzzled  young  Cesario  of  having  beaten  him.  This 
effect  is  emphasized  immediately  by  the  appearance  of  Sir 
Toby,  also  roundly  charging  the  youngster.  But  before 
any  of  the  characters  on  the  stage  or  any  spectator  in  the 
audience  can  recover  from  such  a  breathless  procession  of 
events,  on  hastens  Sebastian  with  an  apology  directed  at  the 
loving  but  hesitating  Olivia.  Before  these  two  lovers  can 
adjust  their  interrupted  relations,  Viola  must  be  satisfied 
concerning  Sebastian.  In  the  twinkling  of  an  eye  the  in- 
terest has  swung  back  to  Viola's  love  for  the  Duke,  yet  only 
three  speeches  are  allowed  to  it,  when  mention  is  made  of 
Malvolio,  who  is  produced.  In  the  modern  versions  there 
is  always  aroused  for  the  misused  steward  some  sentiment 
because  the  male  star  plaj^s  that  role,  but  that  sympathy 
passes  as  he  leaves,  and  the  taunts  of  the  Clown  make  us 
smile  again.  The  closing  speech  of  the  Duke  brings  back 
a  little  magnanimity,  and  the  Clown's  song  ends  the 
comedy. 

All  these  moods  occur  within  the  short  time  of  a  short 


REHEARSING  THE  PLAY  73 

act.  The  audience  is  never  allowed  or  required  to  exer- 
cise any  one  feeling  or  emotion  for  more  than  a  very  few 
minutes. 

To  be  impressed  with  this  same  principle  in  compressed 
form  analyze  for  emotion  alone  Suppressed  Desires  by 
Susan  Glaspell,  or  In  the  Zone  by  Eugene  O'Neill,  or  A 
Night  at  an  Inn  by  Lord  Dunsany.  For  effective  move- 
ment from  one  mood  to  another  Ibsen's  plays  provide  excel- 
lent examples  of  graduated  change.  Used  in  connection 
with  surprise  and  contrast,  this  device  is  one  of  the  most 
powerful  of  all  dramatic  elements. 

Rhythmic  shading  from  one  mood  to  another  is  an  essen- 
tial in  good  producing. 

When  the  cast  becomes  proficient  in  lines  and  action  a 
director  may  direct  them  much  as  a  conductor  leads 
his  orchestra.  While  the  scene  is  being  enacted  he  may 
give — without  interrupting — such  directions  as  "  faster," 
"  slower,"  "  louder,"  "  pause,"  "  step  nearer,"  "  fall  back," 
''stronger,"  ''build,"  "hold  it."  Such  directing  comes 
later  in  rehearsing,  when  polishing  the  play,  or  adding  the 
shaded  finishing  touches,  but  every  one  of  these  orders 
should  be  anticipated  by  the  director,  and  held  in  his  mind 
as  necessary  in  the  final  performance.  As  many  amateurs 
ignorantly  believe  they  are  ready  for  the  audience  as  soon 
as  they  can  romp  through  the  lines  without  prompting,  a 
good  director  should  be  able  to  prove  to  them  how  much 
more  they  need  to  add  to  mere  memorization  and  crude 
interpretation  before  they  can  consider  themselves  acting 
at  all. 

In   anticipating   these  perfecting   details   directors   may 


74       PRODUCING  IN  LITTLE  THEATERS 

attain  their  end  in  two  different  ways.  Some  decide  upon 
every  minutest  point  and  never  swerve  from  a  first  pro- 
nouncement. These  rest  on  firm  adherence  to  first  choices 
and  decisions.  Others  decide  the  broader  lines  only,  adding 
to  the  main  threads  the  smaller  points.  Perhaps  the  best 
results — for  amateurs,  at  least — depend  upon  a  compro- 
mise between  the  two,  or  a  combination  of  them.  A  wise 
director  may  go  so  far  as  to  tell  his  cast,  "  If  I  ask  you  to 
do  something  a  certain  way,  please  don't  tell  me  I  asked 
you  to  do  it  differently  at  previous  rehearsals.  I  may  be 
trying  various  things  at  nearly  all  the  repetitions,  for  I 
want  to  find  the  best."  The  cast  must  not  believe  that  this 
proves  lack  of  comprehension  or  ability  on  his  part,  pro- 
vided any  change  seems  to  improve  the  effect.  If  he  merely 
wastes  time  and  effort  in  needless  vacillation,  he  had  better 
not  be  entrusted  with  a  script  to  direct. 

As  far  as  is  possible  the  scenery  designs  should  follow 
the  author's  descriptions  and  stipulations.  Changes  may  be 
made,  depending  upon  economy,  space,  equipment,  provided 
no  essential  requirement  of  tlie  acting  has  to  be  modified  or 
deleted. 

So  much  of  the  producer's  work  is  preparatory.  He  has 
been  considering  merely  the  text  of  the  play  and  its  mate- 
rial surroundings.  Next  he  must  turn  his  attention  to  its 
human  characters. 

The  cast,  then,  is  next  to  be  determined.  There  are  many 
methods  of  securing  good  casts.  One  of  the  quickest  and 
most  simple  is  to  appoint  the  members.  A  committee  may 
do  this,  and  hand  the  list  to  the  director,  or  the  director 
himself  may  choose  the  actors.     Such  a  scheme  saves  an 


REHEARSING  THE  PLAY  75 

incalculable  amount  of  time.  Another  advantage  is  that  it 
places  the  responsibility  upon  certain  definite  individuals. 
This  will  make  the  members  of  the  casting  committee  and 
the  director  careful  of  the  selections,  in  order  to  assure  a 
good  production.  When  a  committee  makes  the  selections 
the  personal  judgment  of  one  person  is  modified  by  com- 
ment from  others.  It  also  results  in  dividing  the  respon- 
sibility. Undoubtedly  the  best  method  of  selecting  casts  is 
by  "  try-outs." 

In  trying  out  candidates  a  producer  or  a  committee 
passes  upon  the  fitness  of  each  one  by  seeing  him  act.  The 
candidate  may  offer  a  portion  of  the  play  to  be  cast,  or 
something  else  acceptable.  He  may  deliver  lines  from  the 
play  to  be  acted.  He  may  take  part  in  a  "  cast  reading  " 
in  which  persons  stand  about  the  stage  or  room  and  read 
the  lines  of  characters  in  the  play.  If  there  are  three  or 
four  applicants  for  one  part,  each  is  given  a  chance  to  act 
some  scene.  In  judging  such  an  exhibition  less  attention 
should  be  paid  to  what  he  does  than  what  he  indicates  he 
can  do.  Performers  must  always  be  chosen  because  of  the 
possible  development  of  their  latent  abilities  rather  than 
for  assured  attainments.  Iden  Payne  chose  a  cast  of 
twenty  men  and  women  from  hearing  a  large  number  read 
the  prologue  to  The  Drawing  of  the  Sword  by  Thomas  W. 
Stevens.  Some  were  selected  because  of  their  bearing, 
looks,  manner,  voice,  size.  What  they  demonstrated  they 
could  do  was  more  significant  than  what  they  did.  Every 
professional  is  being  tried  out  every  time  he  appears  upon 
the  stage. 

It  is  reported  that  when  an  impersonator  of  Lincoln  was 


76        PRODUCING  IN  LITTLE  THEATERS 

needed  for  John  Drink  water's  play,  some  one  suggested  a 
Mr.  IMcGlynn.  He  was  summoned  back  to  New  York 
from  a  road  company.  The  author  and  he  went  through 
the  scene  in  Grant's  headquarters  in  which  the  President 
pardons  the  boy  sentenced  to  be  shot  for  sleeping  on  sentry 
duty.  At  the  end  of  that  try-out,  Mr.  McGIynn  was  en- 
gaged for  the  title  role. 

There  are  only  two  drawbacks  to  this  scheme  which  is 
the  fairest  which  can  be  devised  for  amateurs.  It  con- 
sumes a  great  deal  of  time.  The  other  drawback  is  this. 
Some  member  of  the  organization  best  fitted  to  play  a  role 
may  not  feel  disposed  to  try  for  it.  Manifestly  he  should 
be  the  one  selected.  But  it  appears  unfair  to  disregard 
the  three  or  four  who  have  made  the  effort  while  he  has 
done  nothing.  Yet  every  role  should  be  acted  in  the  very 
best  manner.  For  the  play's  sake,  the  best  actor  should  be 
assigned  the  part.  A  candidate  may  try  for  a  part  for 
which  he  is  not  at  all  suited  while  he  could  fill  another 
role  better  than  any  one  who  strives  to  get  it.  It  fre- 
quently occurs,  therefore,  that  the  showing  of  candidates 
in  a  series  of  try-outs  must  be  supplemented  and  corrected 
by  personal  choices. 

This  point  of  selecting  the  cast  is  emphasized  here  be- 
cause in  amateur  plays  there  are  likely  to  be  so  many 
instances  of  miscasting.  More  emphasis  is  offered  by  the 
indisputable  fact  that  if  a  play  is  well  cast  its  success  is 
assured,  always  presupposing,  naturally,  that  the  method  of 
directing  will  not  ruin  it.  The  ever-present  dangers  of 
casting  amateur  plays  must  be  anticipated  from  the  incep- 
tion of  the  process.     Friendship,  social  prestige,  prejudice, 


REHEARSING  THE  PLAY  77 

previous  appearances,  willingness  to  act,  desire  to  shine,  all 
these  must  be  reckoned  with  at  this  point.  In  his  consid- 
eration the  director  must  reduce  them  to  the  minimum,  and 
seek  for  mobility,  dependableness,  patience,  intelligence, 
stage  presence,  common  sense,  obedience,  fitness,  loyalty, 
and  endurance.  If  he  is  wise  he  will  banish  temperament 
unless  it  is  over-shadowed  by  matchless  ability. 

Every  member  of  the  cast  should  read  the  entire  play 
in  the  form  it  is  decided  to  use.  Any  cuts  should  be  made 
before  certain  lines  and  scenes  enter  into  the  performers' 
consciousness.  This  is  essential  for  amateurs.  Some  ap- 
parently chance  remark  in  an  early  conversation  may  de- 
termine the  delineation  of  a  character,  or  indicate  the 
interpretation  of  an  entire  later  scene.  Producers,  of 
course,  should  be  able  to  collect  all  these  points  and  trans- 
mit them  to  the  actors  through  directions;  but  the  actors 
should  be  given  the  opportunity  to  accumulate  them  for 
themselves.  At  the  first  meeting  the  play  should  be  read  by 
the  cast.  General  directions  should  be  noted  upon  the 
copies.  The  main  points  to  strive  for  in  the  scenes,  situa- 
tions, lines  might  be  briefly  indicated,  more  as  guides  in 
study  than  as  acting  hints.  Matters  of  age,  peculiar  char- 
acteristics, lines  of  comedy,  pauses,  high  lights,  should  be 
informally  discussed. 

The  rule  just  given  regarding  the  complete  play  is  by  all 
means  the  best  for  amateurs.  Even  to  study  a  role  the  com- 
plete version  seems  the  best,  yet  individuals  have  their 
peculiar  preferences.  Many  study  best  by  copying  their 
parts,  using  personal  contractions  and  abbreviations.  Others 
prefer  to  recite  the  lines  aloud  exactly  as  they  will  speak 


78        PRODUCING  IN  LITTLE  THEATERS 

them.  Nearly  every  amateur  tests  himself  by  having  some 
one  hear  him  recite  lines,  the  second  person  giving  the  regu- 
lar speeches  of  other  characters.  This  device  is  the  best  of 
all,  as  it  accustoms  the  ear  to  the  length  and  sound  of  the 
delivered  dialogue,  and  makes  the  actor  feel  sure  in  his  re- 
sponses. It  unquestionably,  in  the  long  run,  saves  time 
and  energy. 

There  are  some  amateurs,  perhaps  with  a  slight  profes- 
sional experience,  and  many  semi-professionals,  who  prefer 
to  study  from  a  professionally  typed  "  part."  This  contains 
only  the  lines  of  the  single  role,  with  the  last  few  words  of 
other  characters'  speeches — just  enough  to  give  the  cue. 
The  advantage  of  this  for  studying  is  merely  that  it  contains 
no  more  than  the  part  to  study.  The  actor  does  not  have 
to  skip  about  the  complete  play  picking  out  his  own  speeches. 
In  the  second  place  it  gives  the  learner  an  exact  idea  of 
how  long  his  role  is,  for  from  the  number  of  small  sheets 
he  knows  how  many  "  sides  "  (as  they  are  termed  profes- 
sionally) he  has  to  master. 

As  amateurs  are  forced  to  study  their  roles  at  odd  times, 
they  should  soon  know  the  easiest  and  surest  method  to 
use.  People's  minds  memorize  by  quite  different  processes, 
so  each  performer  must  learn  for  himself  the  workings  of 
his  own  faculty  for  memorization. 

One  stock  actress  explained  her  system  to  me.  With  a 
knowledge  of  the  entire  play,  she  divided  her  scenes  into 
so  many  situations  or  moments.  Each  one  of  these  had 
some  kernel,  some  essence,  some  point,  some  crisis,  some 
truth  to  drive  home.  Around  such  central  themes  which 
themselves  would  suggest  what  she  termed  "  key  words  " 


REHEARSING  THE  PLAY  79 

or  "  key  lines,"  she  would  group  other  important  words, 
phrases,  and  speeches.  Thus  by  a  method  of  memorized 
association  she  had  a  succession  of  important  facts  and  con- 
nected speeches  to  remember.  As  she  concentrated  upon 
these  and  went  over  and  over  them  they  became  indelibly 
fixed  in  her  mind.  If  she  missed  a  word  at  times  she  still 
knew  the  effect  she  was  working  up,  and  this  by  association 
would  direct  the  words  into  the  channels  associated  by 
repetition  with  that  effect. 

By  such  a  method  another  result  was  secured — a  result 
of  prime  importance  for  amateurs  to  notice.  So  frequently 
an  audience  is  cognizant  that  as  the  play  progresses  the 
characters  are  less  and  less  certain  of  their  lines.  This  is 
naturally  the  product  of  our  old-fashioned,  usual  system 
of  memorizing.  Recall  how  you  yourself  memorize  a  poem 
of  six  stanzas,  and  admit  that  you  are  always  likely  to  go 
to  pieces  in  the  last  stanza  if  you  try  to  repeat  it  aloud. 
What  is  the  reason?  This  is  it  in  a  single  sentence.  In 
memorizing  you  repeated  the  first  stanza  six  times  as  often 
as  you  did  the  last,  the  second  five  times,  and  so  down,  until 
a  single  repetition  of  the  concluding  stanza  deluded  you 
into  believing  that  you  knew  it. 

The  system  of  memorizing  outlined  here  has  this  decided 
advantage; — that  all  portions  of  the  play  are  memorized 
equally  well,  and  at  the  same  rate.  When,  after  several 
repetitions,  the  speeches  approach  perfection,  they  all  ad- 
vance to  the  same  degree.  If  perfection  is  reached  for  any 
one  section  it  marks  accurate  memorization  of  the  entire 
role. 

At  the  first  real  rehearsal  it  might  be  a  good  thing  if 


So       PRODUCING  IN  LITTLE  THEATERS 

every  performer  could  be  letter-perfect.  This  is  an  ideal 
condition  never  realized  by  any  actors.  It  is  not  really  so 
necessary,  for  at  this  first  rehearsal  the  cast  should  merely 
walk  through  their  parts,  getting  ideas  of  how  and  when 
to  enter  and  exit;  how  and  when  to  move  about;  what 
changes  of  feeling  to  indicate;  all  of  which  they  should  care- 
fully write  down  upon  their  copies.  Then  when  they  memo- 
rize they  can  pick  up  all  this  stage  business  in  cormection 
with  the  lines  they  speak.  Thus  the  action  and  the  deliv- 
ered word  are  suited  to  each  other  as  they  should  be.  This, 
you  recall,  was  one  of  Shakespeare's  cardinal  points  of  good 
acting. 

During  first  rehearsals  the  director  should  interrupt  fre- 
quently. It  is  less  difficult  to  correct  an  unfit  action  before 
it  becomes  spontaneously  reflex  than  after.  It  is  easier, 
then,  though  difficult  at  any  time,  to  change  a  wrong  or 
misplaced  emphasis.  In  early  rehearsals  the  most  insistent 
care  should  be  given  to  pronunciation,  enunciation,  and  tone. 
Every  person  engaged  in  the  delivery  of  speech  should  help 
to  cast  off  the  harshness  and  the  rasping  utterance  which 
mark  the  so-called  American  voice.  Our  speech  can  be 
made  beautiful  upon  the  stage.  In  the  hurry  of  most  ama- 
teur productions  these  elements  of  beauty  and  effectiveness 
receive  scant  attention.  This  does  not  mean  that  all  the 
members  of  a  cast  should  fall  into  the  other  fault  of  talking 
exactly  alike.  A  careful  director  will  prevent  this,  though 
many  play  directors  seem  to  induce  casts  to  imitate  them. 
In  early  rehearsals  it  is  easier  to  get  clear  ideas  of  situa- 
tions. At  such  times  when  differences  of  opinion  arise  be- 
tween director  and  actor,  the  latter  may  be  allowed  to  ex- 


REHEARSING  THE  PLAY  8i 

press  his  conception,  but  in  the  end  he  must  follow  the 
director's  decision.  The  latter  may  be  able  to  explain  very 
clearly  why  he  asks  for  action  done  his  way  rather  than 
another.  If  he  is  a  thinking  producer  he  will  be  able  to 
show  why  his  interpretation  is  correct.  If  he  merely  "  feels  " 
that  it  should  be  so,  he  should  examine  and  analyze  to  as- 
sure himself. 

The  producer  should  know  how  to  emphasize  effects — 
notice,  emphasize,  not  exaggerate.  Moderation,  not  exag- 
geration, is  the  acme  of  present-day  acting,  in  large  pro- 
fessional companies  as  well  as  in  intimate  little  theaters. 
Here  are  concrete  illustrations  of  the  principle  underlying 
this  theme.  In  The  Angel  Intrudes  by  Floyd  Dell  a  young 
woman  about  to  elope  with  a  young  poet  really  goes  off 
with  his  guardian  angel  who  has  intruded  to  save  him  from 
this  rash  exploit.  This  scene  could  be  played  to  show  that 
the  Angel  makes  every  effort  he  can  to  win  the  girl.  But 
it  is  more  humorous — as  well  as  carrying  out  the  an- 
nounced disposition  of  the  girl — to  have  her  rapidly  trans- 
fer her  affection  from  her  earthly  lover,  and  leave  his 
apartment  to  go  willingly  with  this  fascinating  visitor  from 
Heaven.  Their  departure  can  point  this  or  neutralize  it. 
The  Angel  opens  the  door  while  she  is  on  the  opposite  side 
of  the  room.  Should  he  then  go  across  to  her,  and  lead 
her  out  as  an  ordinary  lover  would?  Or  should  he 
wait  at  the  door  and  let  her  cross  to  join  him  before 
they  go  out  together?  The  second  is  so  much  more  in 
the  spirit  of  the  play  that  some  would  call  it  almost  self- 
evident. 

At  the  end  of  the  second  act  of  Don  by  Rudolph  Besier 


82        PRODUCING  IN  LITTLE  THEATERS 

news  is  brought  into  the  drawing-room  of  an  English  canon's 
home  that  the  husband  of  the  woman  taken  away  the  night 
before  by  the  son  of  the  clergyman  has  just  reached  the 
house  and  is  being  ushered  into  the  study,  Don,  the  son, 
declares  he  will  go  face  the  husband.  As  there  are  reasons 
for  fearing  that  the  man  has  come  for  revenge,  and  may 
shoot,  the  household  tries  to  restrain  the  boy.  Suddenly 
the  maid  and  the  boy's  father  appear.  To  indicate  the 
general  confusion  they  should  leave  the  room  door  open. 
When  the  father  has  ordered  his  son  not  to  leave  that 
room,  the  canon  goes  out.  By  so  simple  an  action  as  closing 
that  open  door,  as  if  to  shut  his  son  in,  the  entire  point 
of  the  situation  should  be  emphasized. 

Amateurs  are  likely  to  be  over-anxious  to  act  in  tell- 
ing scenes.  It  is  difficult  to  make  them  realize  that  em- 
phasis may  come  from  absolute  quiescence.  Pauses  are 
more  eloquent  than  speech.  Good  directing  must  take  note 
of  chances  for  such  underlining.  A  young  actress  was  to 
faint  in  a  play.  She  did  this  and  the  subsequent  recovery 
very  convincingly,  but  she  continually  bothered  the  direc- 
tor by  asking  for  directions  about  what  she  should  do.  It 
took  patient  reiteration  of  detailed  explanations  to  make 
her  realize  that  she  must  not  do  anything.  She  could  not 
seem  to  comprehend  the  point  which  could  and  should  be 
made  by  her  relaxed  passivity.  This  instance  illustrates 
another  prime  difficulty  of  amateur  plays.  Untrained,  un- 
skilled performers  find  it  almost  impossible  to  act  when 
they  are  not  saying  something,  or  when  they  are  not  in 
the  stage  center.  They  allow  themselves  to  pass  out  of  the 
situation. 


REHEARSING  THE  PLAY  83 

As  rehearsals  progress  there  should  be  fewer  and  fewer 
interruptions.  Changes  should  be  announced  before  the 
action  begins,  or  at  the  end  of  a  scene.  If  possible,  these 
alterations  should  be  incorporated  immediately  by  repeti- 
tions. Many  amateurs  need  time  to  absorb  changes.  In 
this  instance  the  modifications  should  become  effective  at 
the  next  rehearsal. 

One-act  plays  should  be  rehearsed  entire.  Performers 
should  feel  the  rise  of  interest  and  know  how  to  secure  it. 
The  danger  of  repeating  until  the  acting  becomes  a  bore 
should  be  anticipated  and  avoided.  Actors  are  as  likely 
to  "  grow  stale  "  as  athletes  are.  Continually  drumming 
at  an  effect  may  be  the  very  worst  method  in  the  world  for 
securing  it.  Many  people  under  such  treatment  are  like 
teased  animals.  Like  spirited  horses  they  may  be  goaded 
too  far.  I  have  seen  an  entire  cast  in  a  serious  play  go 
off  on  a  tangent,  become  almost  hysterical,  and  rehearse 
as  howling  farce  with  peals  of  laughter  the  most  affecting 
scenes,  then  reappear  at  a  next  rehearsal  and  go  through 
the  scene  with  remarkable  improvement.  Severity  is  out 
of  place  in  such  ebullitions  of  group  temperament.  A  wise 
director  will  doff  his  dignity  and  enter  into  the  fun  for 
this  one  occasion. 

Ability  to  work  with  human  natures  in  the  artificial  rela- 
tionships of  play  casts  is  usually  of  more  practical  value 
to  a  director  than  mastery  of  stagecraft.  Stagecraft  with- 
out it  will  carry  him  nowhere.  Much  skill  in  handling 
people  coupled  with  fair  stage  knowledge  will  work  won- 
ders. Frequent,  rather  than  long,  rehearsals  should  be 
the  rule.     Familiarity  and  ability  should  reach  the  point 


84       PRODUCING  IN  LITTLE  THEATERS 

where  no  effect  is  the  result  of  a  lucky  chance  or  fortunate 
circumstance.  Anything  which  merely  "  happens  "  is  not 
good  acting.  Any  effect  should  be  an  assured  certainty 
from  habitual  effort. 

Full-length  plays  require  different  treatment  by  ama- 
teurs. Acts  should  be  rehearsed  separately.  The  first  act 
will  require  the  longest  time,  because  in  addition  to  memo- 
rizing lines  and  working  up  business,  the  actors  are  en- 
deavoring to  take  on  the  characters  of  other  persons.  The 
school  boy  acting  Monsieur  Jourdain  is  learning  how  to 
be  the  silly  worshiper  of  rank.  The  girl  studying  Maurya 
in  Riders  to  the  Sea  is  visualizing  an  Irish  mother  such  as 
she  never  saw.  Girls  in  a  Greek  play  are  trying  to  walk 
gracefully  without  heels.  The  two  Dromios  in  A  Comedy 
of  Errors  are  practising  grimaces.  When  the  first  act  is 
ready,  the  actors  will  have  mastered  the  characterization, 
so  that  task  diminishes  as  the  rehearsals  proceed. 

Every  act  has  its  peculiar  problems  and  important  re- 
quirements. The  first  act  must  arouse  the  interest  of  the 
audience.  It  must  impress  them  as  soon  as  possible.  The 
first  lines  to  be  spoken  are  extremely  important  and  cor- 
respondingly difficult.  Modern  play- writing  has  almost 
entirely  eliminated  the  first  speech  by  providing  that  the 
curtain  shall  rise  upon  an  empty  stage,  upon  action  with- 
out lines,  or  upon  a  stage  picture  which  will  carry  over 
some  impression  before  any  character  need  speak  a  word. 
If  the  play  does  not  offer  such  a  quiet  start,  the  director 
may  contrive  it.  The  director  should  make  plain  to  speak- 
ers just  where  the  first  laugh  may  be  expected,  just  where 
the  first  telling  impression  should  be  made.    In  these  days 


REHEARSING  THE  PLAY  85 

of  moderate,  realistic  acting,  amateurs  are  finding  it  more 
and  more  difficult  to  secure  their  effects.  This  entails  all 
the  more  careful  preparation  in  acting. 

Middle  acts  must  be  rehearsed  to  rise  above  the  first. 
The  supreme  importance  of  the  middle  of  a  play  is  exem- 
plified by  the  title  of  Mr.  Hopkins's  book,  How's  Your 
Second  Act?  Intensity  and  complication  must  be  reflected 
in  rehearsals.  There  must  be  a  series  of  "  step-ups."  In- 
tervals of  contrast  must  not  allow  the  audience  to  slip 
away. 

As  a  play  is  a  series  of  crises  it  must  be  rehearsed  as  a 
succession  of  wave  motions — if  the  figure  of  speech  be  per- 
mitted. Tempo,  motion,  emotion,  stress,  strain,  rise,  height, 
culmination,  subsidence,  relief,  contrast,  cadence,  all  these 
must  be  recognized  and  secured.  A  play  is  of  course,  a 
unified  entity,  but  when  analyzed  it  will  present  a  series  of 
diversified  links  in  a  chain  of  related  circumstances.  A 
director  must  strive  during  rehearsals  to  attain  these  ef- 
fects, which  the  audience  may  not  be  able  to  explain  in 
detail,  but  which  an  audience  reacts  to  as  surely  as  piano 
strings  respond  to  the  touch  upon  the  keys.  In  printing 
our  plays  in  English  we  do  not  indicate  such  progressions 
beyond  inserting  more  or  less  adequate  stage  directions. 
The  Latin  nations  have  until  recently,  when  the  practice 
seems  to  be  less  consistently  followed,  indicated  as  a  sepa- 
rate "  scene  "  each  division  within  which  no  entrances  or 
exits  are  made.  To  a  reader  this  system  of  printing  the 
acts  upon  the  page  is  needlessly  confusing.  It  is  much 
plainer  to  clearly  provide  entrance  and  exit  directions. 
But  it  does  visualize  the  unity  of  a  situation,  the  complete- 


86       PRODUCING  IN  LITTLE  THEATERS 

ness  of  a  scene.  And  it  does  help  directors  and  performers 
to  raise  the  level,  or  build  a  climax,  or  emphasize  a  con- 
trast, or  sink  to  ordinary  conversation,  or  relieve  pathos  by 
comedy;  or  make  prominent  some  of  the  other  reactions 
necessary  to  keep  a  play  going.  For  without  these  rises 
and  subsidences,  the  drama  stands  still. 

During  rehearsals  when  actors  are  not  likely  to  be  dis- 
turbed by  it,  the  director  should  direct  as  the  conductor 
of  an  orchestra  leads  the  rendition  of  a  composition.  As 
the  characters  go  through  their  parts  he  should  give  direc- 
tions continually  as  needed,  warning  a  speaker  to  slow 
down,  urging  another  to  warm  up  to  passion;  urging  one 
to  intensity;  leading  another  into  evenness  and  delibera- 
tion. He  can  thus  accelerate  or  retard  the  tempo.  He  can 
whip  up  to  a  fury  of  sudden  explosion.  He  can  quickly  re- 
duce to  ordinary  realism.  He  can  make  a  pause  pregnant 
with  mystery.  He  can  coax  adoration  into  the  pose  and 
tone  of  an  awkward  lover.  He  can  stir  a  quiet  winsomeness 
into  stinging  rebuke.  He  can  make  tangible  to  his  group 
those  seemingly  delicate  and  unreal  elements  of  rhythm 
and  reaction. 

When  he  can  make  all  these  things  inherent  and  con- 
sistent parts  of  his  repetitions  he  has  brought  his  rehearsals 
to  the  point  for  the  shading.  Then — as  he  himself  is  sen- 
sitively attuned  to  the  author's  purposes — he  can  add  or 
reduce  until  there  becomes  apparent  that  exquisite  cor- 
respondence of  interpretation  to  intention  which  is  the  end 
of  all  true  art. 

Often  not  enough  cuts  are  made  to  bring  the  play  within 
the  ability  of  amateurs.     For  all  other  dicta  to  the  con- 


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Models    of    scenery    for    Central    High    School    stage, 

Saint  Louis. 
The   upper    was    used    in    Tivelfth    Night   and    Love's 

Labor   Lost.     The    lower    in    Tivelfth    Night   and 

The  Comedy  of  Errors. 


Wells  College.     All-girl  casts. 


Above:     Busliido,  by  Takeda  Izuma. 


Below:     Lc  Malade  Imaginaire,  by  Moliere. 


REHEARSING  THE  PLAY  87 

trary  notwithstanding,  plays  must  be  cut  for  amateurs, 
even  as  they  are  for  professionals.  The  changes  and 
adaptations  made  in  producing  plays  are  beyond  enumera- 
tion. Sir  James  M.  Barrie,  interrogated  about  the  ex- 
cellent last  line  spoken  in  What  Every  Woman  Knows, 
which  does  not  appear  in  the  printed  play,  frankly  ad- 
mitted that  he  had  forgotten  the  "  funny  "  line  delivered 
on  the  stage.  "  I  probably  put  it  in  at  rehearsal  and  it 
has  gone  legging  away  on  its  own."  Eugene  O'Neill's 
Beyond  the  Horizon  had  entire  scenes  cut  when  it  was  put 
upon  the  stage. 

School  and  college  instructors  hold  up  a  warning  hand, 
declaring  that  the  text  of  Shakespeare  is  sacred,  that  not 
a  single  line  must  be  excised.  Yet  we  seem  to  have  his 
own  practice  for  the  cuts  necessary  for  modern  conditions. 
The  Quartos  of  King  Lear  are  about  175  lines  longer  than 
the  Folio  of  1623.  Some  220  lines  not  in  the  Folio  are  in 
the  Quartos.  The  Folio  contains  50  lines  not  in  the  Quar- 
tos. The  Folio  omits  one  entire  scene  found  in  the  Quar- 
tos. In  this  connection  an  interested  student  will  find  the 
remarks  on  the  various  Quartos  of  The  Merchant  of  Venice 
printed  in  the  Variorium  Edition  by  Furness  especially 
interesting  and  illuminating. 

It  is  in  concluding  acts  that  amateurs  usually  fail. 
They  have  not  the  endurance  to  carry  a  long  play  easily. 
They  may  not  be  conscious  of  it,  but  they  have  used  up 
most  of  their  energy.  Try  as  they  will,  the  last  act  lacks 
freshness  and  vigor.  So  they  must  be  rehearsed  for  en- 
durance. Before  the  last  act  is  reached  they  have  also 
used  up  their  supply  of  acting  devices,  so  that  there  is  the 


88       PRODUCING  IN  LITTLE  THEATERS 

suggestion  of  monotony  in  their  presentations.  This  ac- 
counts in  part  for  the  general  "  let-down."  To  counteract 
this  some  justifiable  devices  or  stage  tricks  are  in  many  in- 
stances resorted  to.  Changes  of  costume  or  setting  may 
help  interest  the  audience  and  so  relieve  the  strain  upon 
the  cast.  Attention  may  be  diverted  to  extraneous  features 
until  the  actors  can  assume  the  burden  of  responsibility 
and  successfully  bear  it  to  a  satisfying  conclusion.  Mod- 
ern stagecraft  with  its  interest  in  lighting,  color,  decora- 
tion, here  finds  opportunity  for  its  support  to  the  acting. 
I  am  not  attempting  to  justify  every  resort  to  such  meas- 
ures. I  am  merely  pointing  out  a  fact  which  must  be 
reckoned  with  in  attempts  to  improve  the  level  of  amateur 
productions.  Such  devices  are  reprehensible  only  when 
they  submerge  the  effect  of  the  play  as  drama.  If  they 
enforce  the  dramatic  value  they  are  within  the  director's 
province. 

To  correct  further  the  usual  commonplaceness  of  the 
latter  part  of  a  play,  the  last  act  should  be  rehearsed  longer 
and  more  carefully  than  is  usually  done.  Many  directors 
start  rehearsing  it  too  close  to  the  performance.  It  there- 
fore does  not  move  as  certainly  as  it  should.  Yet,  as  it  is 
the  most  significant  part  of  the  play,  it  should  be  the  best 
acted. 

A  good  director  should  have  numerous  devices  for  help- 
ing rehearsals.  Groups  and  combinations  should  be  planned 
so  that  minor  characters  are  not  kept  waiting  about  with 
nothing  to  do  except  to  disturb  by  chattering  and  giggling. 
Self-conscious  performers  should  be  rehearsed  privately  in 
love  passages,   comic   scenes,   and   tense  situations,   untU 


REHEARSING  THE  PLAY  89 

they  are  good  enough  to  impress  the  other  members  of  the 
cast. 

The  play  should  be  ready  in  every  acting  detail  at  least 
a  week  before  the  scheduled  performance.  This  is  an  all- 
important  matter.  During  those  last  days  the  producer 
should  be  free  to  give  time  and  attention  to  costumes, 
make-up,  scenery,  lighting,  properties,  and  the  thousand 
and  one  details  which  make  play-producing  the  most  vexa- 
tious as  well  as  the  most  fascinating  undertaking  in  the 
world. 


CHAPTER  VI 
ARTISTIC  AMATEUR  SETTINGS 

It  is  perfectly  possible — as  some  amateur  enthusiasts 
assert — to  present  plays  without  any  scenery.  Several 
years  ago  almost  a  dozen  directors  advertised  perform- 
ances of  Shakespeare,  emphasizing  as  a  decided  feature  that 
the  productions  were  in  "  the  Elizabethan  manner."  This 
usually  meant  without  scenery.  So  far  as  it  involved  a 
stage  almost  entirely  free  from  built  sets,  the  manner  was 
Elizabethan.  The  great  difficulty  today  is  that  no  one  can 
say  with  certainty  exactly  what  the  method  of  presenta- 
tion was  in  Shakespeare's  time.  It  is  incredible  that  at  the 
time  Inigo  Jones,  court  painter  and  architect,  was  devising 
and  constructing  the  elaborate  mechanical  and  picturesque 
settings  demanded  by  the  masques  of  Ben  Jonson,  the 
professional  playhouse — always  quick  to  adopt  court  man- 
ners and  interests — did  not  follow  as  close  as  its  financial 
resources  would  allow.  Sketches  and  descriptions  of  court 
entertainments  prove  that  elaborate  equipment  and  scenery 
were  employed.  The  stage  after  1603  must  have  reflected 
this  great  advance  in  stage  decoration. 

Most  modern  attempts  to  interest  theater-goers  in  these 
self-denominated  antiquarian  revivals  always  overlook  this 
possibility  of  late  Shakespearean  settings.  A  mistake  more 
serious  than  their  attempt  to  cover  poor  acting  and  ama- 
teurish characterization   by  bare  scaffolding  is   their   dis- 

90 


ARTISTIC  AMATEUR  SETTINGS  91 

regard  of  the  cardinal  fact  of  Elizabethan  professional  stage 
record — a  single  fact  which  removes  forever  any  wide  ap- 
peal of  an  accurate  repetition.  The  women's  roles  were  en- 
acted by  boys. 

In  colleges — whether  in  fairly  serious  drama  or  howling 
musical  comedy — we  may  look  upon  raw  youth  disporting 
itself  in  feminine  lingerie,  and  if  it  doesn't  have  to  speak 
too  many  lines,  and  if  it  remembers  to  take  short  steps 
in  walking,  and  not  to  pull  its  skirt  up  when  it  sits,  we  may 
at  times  drop  into  a  voluntary  illusion.  But  a  restoration 
of  Elizabethan  casting  to  a  beautifully  poetic  play  of 
Shakespeare's  is  horrible  even  to  discuss. 

A  compromise  setting  may  be  made  quite  beautiful, 
even  when  reduced  to  such  simplicity  and  exercised  with 
such  flexibility  as  the  settings  shown  many  years  back  by 
the  New  Theater  of  New  York,  and  more  recently  by 
Walter  Hampden,  E.  H.  Sothern,  and  Alfred  Hopkins. 
When  reduced  to  their  simplest  equipment,  old  plays  need 
draped  stages. 

Modern  plays  may  be  presented  with  not  even  that  much 
decoration.  For  certain  dramas  the  end  of  a  room  which 
is  large  enough  to  accommodate  the  audience  will  serve 
admirably.  If  the  actors  can  be  plainly  seen,  not  even  a 
platform  is  needed.  In  many  large  houses  three  or  four 
plays  have  been  offered  in  a  single  evening  with  entirely 
different  sets.  This  has  been  managed  by  having  the  spec- 
tators pick  up  their  chairs  and  move  from  the  bare  billiard 
room  after  seeing  Augustus  Does  His  Bit  by  G.  Bernard 
Shaw  to  the  large  hallway  to  watch  a  short  play  such  as 
Fancy  Free  by  Stanley  Houghton  presented  on  the  stair 


92        PRODUCING  IN  LITTLE  THEATERS 

landing,  then  to  the  conservatory  to  see,  perhaps,  Sutro's 
A  Marriage  Has  Been  Arranged.  M.  Maeterlinck  had  his 
Pilleas  and  Melisande  so  produced  in  the  old  buildings  of 
St,  Wandrille,  his  home  in  France.  But  a  series  of  such 
peripatetic  productions  would  cease  to  be  a  novelty  and 
become  a  bore.  Also,  a  large  number  of  most  attractive 
plays  and  effects  are  barred  entirely  by  such  methods. 

The  natural  beauty  of  outdoors  will  frame  a  host  of 
other  plays  more  adequately.  Volumes  of  them  have  been 
written,  although  more  recently  the  more  practicable  and 
sensible  form  of  spectacular  pageantry  has  almost  usurped 
the  earlier  popularity  of  al  fresco  performances.  Such  sur- 
roundings determine  the  material  of  the  play.  They  pre- 
clude delicate  effects,  precise  shadings.  They  preclude 
stories  turning  upon  or  developed  by  involved  dialogue,  or 
nice  points  of  characterization.  The  more  action  depends 
upon  broad  movements,  the  more  nearly  the  theme  permits 
of  pantomimic  interpretation,  the  better  for  both  perform- 
ers and  audience.  Add  to  these  drawbacks  of  outdoor  act- 
ing the  always  impending  inclemency  of  American  weather, 
the  summer  open-air  noises,  the  behavior  of  an  outdoor 
crowd,  and  you  will  gain  an  adequate  idea  of  all  the  ele- 
ments to  be  considered  in  undertaking  such  risks.  Also 
keep  clearly  in  mind  the  difference  between  plays  on  one 
side  and  processions,  pageantry,  masques,  spectacles,  and 
such  related  entertainments,  on  the  other. 

With  all  disadvantages  counted  at  their  true  cost,  there 
are  always  recompensing  delights  about  open-air  produc- 
tions. 


ARTISTIC  AMATEUR  SETTINGS  93 

The  mere  terms  "  play  "  and  "  production  "  connote  at 
least  a  stage  of  some  size  and  scenery  of  some  sort. 

So  far  as  scenery  is  concerned  the  best  starting  point 
entails  only  four  elements — the  producer  who  knows  ex- 
actly how  he  wants  the  play  to  be  set,  enough  space  to 
erect  a  good  set,  artistic  ability  to  create  the  design  or 
model,  and  enough  material  means  to  complete  it. 

Material  means  does  not  signify  money  only.  It  in- 
cludes scenery  already  built,  paints,  lumber,  canvas,  blocks, 
draperies,  rugs  and  carpets,  and  the  thousand  and  one 
things  which  accumulate  in  theaters  and  houses.  In  daring 
exhibitions  of  artistic  ability  in  stage  settings,  amateurs 
far  outstep  professionals,  who  just  now  are  adopting  de- 
vices heralded  ten  years  ago  by  enthusiastic  amateur  art 
directors.  The  most  crying  need  of  all  amateur  stages  is 
space — space  to  the  right,  space  to  the  left,  space  to  the 
rear,  and  space  overhead.  Every  producer  must  know 
exactly  how  he  wants  every  play  set,  for  every  play  pre- 
sents problems  of  its  own.  The  same  kind  of  settings 
through  an  entire  season  would  result  in  that  reducer  of 
the  size  of  all  audiences — monotony. 

Never — if  you  can  prevent  it — allow  any  stage  which 
you  control  to  be  loaded  with  the  four  conventional  sets 
produced  by  professional  scene  builders  acting  on  their 
own  initiative  to  provide  your  theater  with  equipment  sug- 
gesting the  country  town's  "  op'ry  house."  These  regular 
stock  pieces  include  always  a  nondescript  woodland,  a 
park  with  a  struggling  putty  group  painted  on  the  back 
drop,  a  "  drawing-room  "  with  a  wide  archway,  two  doors, 


94       PRODUCING  IN  LITTLE  THEATERS 

but  never  any  windows,  and  fourth,  usually  painted  on  the 
rear  side  of  the  preceding,  a  kitchen.  There  is  no  denying 
that  these  sets  may  be  needed  at  some  time.  But  if  you 
are  connected  with  a  school,  college,  club,  or  community  cen- 
ter, block  every  attempt  to  get  this  "  stock "  when  the 
building  is  completed.  Have  the  money  put  into  income- 
bearing  securities  which  can  be  promptly  converted  into 
cash  to  buy  scenery  as  occasion  requires.  Or  take  part 
of  it  and  drape  the  entire  stage  with  beautifully  colored 
curtains  which  will  serve  as  attractive  backgrounds  for  lec- 
turers, musicians,  dancers,  yes — and  many  plays  as  well. 

Do  not  be  led  by  over-enthusiastic  praise  in  books  into 
fixing  upon  your  stage  those  devices,  which  though  excel- 
lent for  houses  needing  them,  may  be  merely  extravagant 
white  elephants  for  you.  I  have  been  told  that  the  revolv- 
ing stage  in  the  Little  Theater  of  New  York  was  before 
the  most  recent  alterations  used  mainly  to  convey  furniture 
from  the  front  to  the  rear  at  a  speed  easily  equaled  by 
the  usual  manner  of  handling,  yet  you  will  find  scores  of 
books  and  magazine  articles  glibly  talking  about  the  value 
of  such  a  modern  appliance.  Very  little  is  said  of  the  me- 
chanical structural  aspect,  or  of  the  expense  in  supplying 
power  to  operate  such  devices.  Do  not  have  a  permanent 
plaster  cyclorama  built  until  you  have  carefully  consid- 
ered all  its  possible  interference  with  tackle  for  borders, 
border  lights,  ceilings,  foliage,  etc.  For  the  number  of 
times  you  are  going  to  need  it,  consider  whether  a  canvas 
drop  will  not  do  as  well.  In  other  words,  keep  your  stage 
space  as  free  as  possible  from  all  permanent  encumbrances. 

A  draped  stage  will  serve  for  hundreds  of  plays.    If  the 


ARTISTIC  AMATEUR  SETTINGS  95 

hangings  will  take  tints  in  lighting,  almost  any  effect  can 
be  secured.  Furniture,  decorations,  hangings,  costumes,  will 
fix  the  period  and  kind  of  place  being  represented.  Cur- 
tains permit  entrances  at  all  points.  If  many  sets  are 
hung  upon  wires  they  should  be  arranged  to  move  easily 
for  quick  changes.  The  business  manager  of  the  Benson 
Company  of  Stratford-on-Avon  in  19 14  discussed  with  me 
the  production  of  The  Merchant  of  Venice  entirely  before 
draperies.  Some  such  device  was  used  in  part  in  the  pro- 
duction of  this  play  in  London,  with  the  Nev/  York  actor, 
Maurice  Moscovitch,  as  Shylock.  In  the  Shakespeare  Fes- 
tival at  Stratford-on-Avon,  in  1920  many  quick  changes 
of  scenes  were  made  by  drawing  curtains  and  tapestries 
strung  upon  wires. 

Plainly  colored  curtains  hanging  clear  of  the  floor  in 
vertical  folds  may  serve  as  modern  drawing-rooms  or  sets 
for  costume  plays.  Suggestions  of  decorations  will  give 
almost  endless  variety.  A  landscape  broadly  painted,  with 
knightly  figures  in  it,  may  serve  as  tapestries  for  either 
modern  rooms  or  medieval  chambers.  If  Shakespearean 
producers  years  ago  had  known  a  little  more  about  his- 
torical accuracy  and  beauty  of  effects,  even  Hamlet  and 
Lear  could  have  been  decorated  more  effectively  and  eco- 
nomically. Instead  of  displaying  crudely  painted  stone 
walls,  any  bare  framework  might  have  been  hung  with 
genuine  curtains  in  modern  imitation  of  the  medieval  arras. 
Not  only  would  this  have  been  more  beautiful  but  it  would 
have  allowed  more  rapid  change  of  setting.  In  one  scene 
in  Hamlet  it  would  have  permitted  a  vivid  reproduction 
of  what  Shakespeare  intended,  instead  of  a  mawkish  make- 


96       PRODUCING  IN  LITTLE  THEATERS 

shift.  In  the  closet  scene  Polonius  should  hide  behind  the 
arras,  always  hung  a  foot  or  more  away  from  the  damp 
stone  walls,  instead  of  stealing  off  into  an  alcove  or  door- 
way. 

Practically  any  play  of  the  past  may  be  set  within  cur- 
tained spaces,  while  not  a  few  more  modern  ones — not  de- 
manding too  finished  realism — can  be  thus  set  much  more 
beautifully  than  by  means  of  the  usual  old-fashioned  in- 
terior flats.  Every  school  which  has  been  wondering 
whether  it  had  better  repaint  its  interior  set,  or  have  a  new 
one  built,  can  spend  the  money  to  better  advantage  in 
draperies.  Tapestries  will  set  nearly  all  French  plays  and 
many  English  ones  as  well.  For  any  Moliere  interior  you 
need  merely  cover  your  canvas  walls  with  hangings.  A 
few  hangings  flanking  a  monumental  fire-place  will  carry 
you  back  to  any  indeterminate  or  definite  period  particu- 
larized by  the  furniture,  the  costumes,  and  the  dialogue  of 
the  characters.    Even  Italy  may  be  thus  simulated. 

The  orient  may  be  brought  upon  a  large  stage  by  drap- 
ing most  of  it  in  black  and  gold,  then  showing  through 
tall,  straight  openings,  towers,  peaks,  domes,  and  minarets 
against  the  brilliant  blue  back-drop,  or  against  the  purple 
of  night.  There  is  absolutely  no  limit  to  the  use,  effective- 
ness, and  beauty  of  draperies  upon  both  large  and  small 
stages. 

If  you  can  purchase  only  one  set  of  hangings  you  must 
be  careful  of  the  color.  No  general  rules  for  choice  can 
be  given,  as  so  much  depends  upon  the  frame  of  your  stage 
pictures;  upon  the  color  scheme  of  the  auditorium  walls, 
seats,  ceiling;  upon  your  lighting  equipment;  upon  the  fre- 


ARTISTIC  AMATEUR  SETTINGS  97 

quency  of  its  use.  Expert  advice  upon  the  spot  is  worth  a 
score  of  haphazard  opinions  at  long  range.  Browns,  grays, 
blues,  are  more  likely  to  prove  satisfactory  than  any  others. 
Beware  of  decoration  or  ornamentation  such  as  gilt  bor- 
ders, clusters  of  fruit,  metallic  lines,  corner  pieces,  con- 
ventionalized designs,  period  applications,  art  nouveau,  sym- 
bols, faddist  propaganda.  Try  to  put  repose,  charm,  dis- 
tinction into  your  backgrounds.  Let  everything  else  be 
added  as  individual  plays  require. 

For  period,  poetic,  romantic  plays,  draperies  serve  ad- 
mirably. Difficulty  arises  as  soon  as  modern,  realistic  ma- 
terial requires  dressing.  Windows  and  doors — at  least  mod- 
ern ones — do  not  seem  congruous  in  such  unusual  sur- 
roundings. Though  enthusiasts  may  declaim,  it  is  impos- 
sible to  produce  without  realistic  scenery  such  plays  as 
Trifles  by  Susan  Glaspell,  Riders  to  the  Sea  of  J.  M.  Synge, 
In  the  Zone  by  Eugene  O'Neill,  The  Cat  and  the  Cherub 
by  F.  C.  Fernald,  You  Never  Can  Tell  by  G.  Bernard 
Shaw,  the  first  act  of  Doctor  in  Spite  of  Himself  by  Mo- 
liere.  So  the  producer  and  his  art  staff  will  have  to  turn  to 
built  scenery. 

A  built  interior  can  be  made  just  as  beautiful  as  a  cur- 
tained or  tapestried  one.  If  you  have  money  build  each 
interior  as  you  need  it,  and  make  it  exactly  right  for  its 
purpose.  If  you  are  not  affluent,  do  not  be  too  pronounced 
in  colors,  style,  architectural  detail,  and  ornament.  Let  the 
built  scenery  merely  suggest  possible  kinds  of  walls.  Let 
your  treatment  by  rugs,  furniture,  pictures,  hangings,  do  all 
the  rest.  Build  your  sets  always  so  that  they  may  be  used 
again  and  again,  even  without  repainting.    Producers  who 


98        PRODUCING  IN  LITTLE  THEATERS 

use  and  recommend  screens  for  scenery  will  enforce  this 
advice.  Remember  that  rearrangement  of  pieces  will  pro- 
duce new  sets. 

Your  art  staff  must  know  much  of  the  practical  con- 
struction of  stage  scenery.  The  first  principle  is  that  all 
scenery  should  be  so  constructed  that  it  can  be  worked 
from  the  stage  floor.  Pieces  which  have  upon  their  edges 
two  halves  of  hinges  which  are  to  fit  together  and  can  be 
fastened  by  having  a  long  wire  nail  pushed  through  the 
parts  may  be  practicable,  provided  the  highest  hinge  can 
be  reached  from  the  stage.  If  a  ladder  or  box  or  chair  is 
needed,  that  scenery  is  badly  constructed.  Any  pieces 
taller  than  ten  or  eleven  feet  will  likely  not  fit  closely  to- 
gether at  the  top  if  this  kind  of  fastening  is  used. 

Some  amateurs  provide  grooves  on  the  iloor  and  ceiling. 
Into  these  grooves  'are  fitted  or  slid  the  pieces  of  scenery 
until  they  meet  edge  to  edge.  In  successful  result  such 
scenes  should  give  an  impression  of  well-constructed  solid- 
ity. If  edges  are  straight  and  junctures  are  at  exact  right 
angles  there  should  be  no  yawning  gaps  in  the  meeting 
lines.  But  this  is  a  poor  method  because  it  makes  all  stage 
spaces  the  same  size.  All  rooms  and  open  spaces  have  to 
be  the  same  distance  to  the  rear,  and  right  and  left.  The 
slope  of  side  walls  has  to  be  calculated  beforehand  and 
all  interiors  shaped  exactly  alike.  Practically  no  alcoves, 
corners,  arches,  can  be  set  without  pulling  up  and  renam- 
ing the  grooves.  Exteriors  are  especially  ungainly  in  this 
make-shift.  Wood  wings  or  tree  side-pieces  usually  look 
best  if  they  almost  parallel  the  footlights.  As  grooves  for 
these  nailed  to  the  stage  floor  at  each  side  would  project 


1 

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^^^^^^^■i'       .-mU 

IK  ir7^J 

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7  he    Shepherd    in    the   Distance,   by    Holland    Hudson. 


Above :     The  Little  Theater,  Denver. 
Below :     Smith   College,   Northampton. 


Scenery   designs   by   C.    Raymond    Jonsoii 

Above:      The   Pretty   Sahiiic    Women,  by    L.    Andreev. 

Below :  The  Maker  of  Dreams,  by  Oliphant  Down. 
Walls,  flat  gray,  rather  dark.  Furniture,  lightct 
gray.  The  room  is  seen  through  the  large  win- 
dow fitted  into  the  proscenium.  One  character 
entered  from  the  audience,  pretending  to  raise  the 
sash. 


ARTISTIC  AMATEUR  SETTINGS  99 

into  any  room  which  might  be  set  during  the  same  bill, 
and  as  these  grooves  parallel  to  the  stage  front  would  have 
to  cross,  intersect,  or  interfere  with  the  grooves  for  side 
walls,  there  would  be  endless  toil  and  trouble. 

There  seems  really  not  a  single  thing  to  be  said  in  favor 
of  such  a  hardened  stage  manipulation.  It  harks  back  to 
the  days  before  the  eighties  when  grooves  above  the  stage 
were  provided  to  support  scenery.  Those  methods  are 
antiquated.  Only  ignorance  of  real  stage  methods  can  be 
the  reasons  for  the  retention  of  any  such  outworn  device. 
When  a  groove  has  no  scenery  fitted  into  it,  it  is  a  certain 
stumbling  block  for  performers.  The  entire  floor  of  the 
stage  from  one  side  wall  to  the  other  and  from  the  foot- 
lights clear  to  the  rear  wall  should  be  absolutely  level.  Not 
the  slightest  projection  should  mar  its  surface.  Even  elec- 
tric light  plugs  should  be  sunk  beneath  little  covering  trap- 
doors or  plates. 

If  ceiling  and  stage  are  not  exactly  parallel  as  is  more 
than  likely  true  in  schools,  churches,  halls,  converted  thea- 
ters, etc.,  there  are  troubles  in  fitting.  This  scheme  seems 
totally  bad. 

Another  device  if  the  stage  is  so  small  that  scenery  is 
not  too  far  from  the  walls  of  the  building  is  to  have  screw- 
eyes  in  the  scenery  frames.  Between  these  and  other  screw- 
eyes  along  the  walls  at  the  same  height  are  placed  strips 
of  wood  with  projecting  nails  at  the  ends.  These  are  not 
too  high  to  be  reached  easily  but  are  high  enough  to  allow 
unrestricted  passage  of  persons  under  them.  As  the  sides 
of  sets  always  slope  and  the  building  walls  are  straight, 
the  length  for  every  point  must  be  accurately  calculated. 


100     PRODUCING  IN  LITTLE  THEATERS 

Unless  carefully  placed,  these  projecting  screw-eyes  will 
push  holes  through  canvas  when  the  fiats  are  stacked.  Al- 
though once  used  at  the  Provincetown  Theater,  this  method 
seems  cumbersome  compared  with  the  best  one.  Pieces  of 
interior  scenery  (flats)  should  be  laced  together  with  a 
rope  which  should  be  fastened  to  the  right  side  near  the 


Rear  of  scenery  showing  method  of  lacing  and  bracing. 

top  of  every  piece  of  interior  scenery  made.  Every  left 
edge  should  have  below  this  point  a  cleat  or  nail  behind 
which  the  rope  is  caught.  About  a  yard  from  the  bottom 
of  the  scenery  are  two  long  nails  parallel  with  the  canvas, 
around  which  the  line  can  be  fastened.  A  person  can  do 
this  without  even  stooping.  If  the  set  be  quite  tall  the 
lacing  may  pass  across  more  times  than  this. 

When  a  box  set  of  this  kind  is  put  up,  its  angles  will 
make  it  stand.  Large  sets  can  be  made  more  stable  by  in- 
serting alcoves,  or  by  cutting  off  corners  at  sloping  angles, 
or  by  providing  for  a  projection  into  the  end  or  middle 


ARTISTIC  AMATEUR  SETTINGS         loi 

of  a  wall.  More  stability  is  secured  by  using  regular  stage 
braces  at  various  points.  These  are  adjustable  supports 
with  at  one  end  a  hook  which  catches  a  hole  in  a  cleat 
fastened  to  the  frame  about  eight  or  nine  feet  from  the 
bottom,  and  at  the  other  a  large  flat  eye  through  which 
a  stage-screw  is  put  into  the  floor.  Not  many — perhaps 
none — are  required  for  small  box  sets,  for  they  will  stand 
by  themselves.  If  there  are  reasons  why  the  stage  should 
not  be  marked  by  the  holes  made  by  the  stage-screws  it  is 
easy  to  nail  down  at  certain  points  with  long  thin  wire 
nails,  a  few  blocks  of  soft  wood  about  two  inches  thick.  In 
these  the  screws  can  be  fastened.  One  screw  will  hold  two 
or  more  braces.  When  the  block  of  wood  is  removed  at 
the  end  of  the  performance  no  marks  remain  except  the 
small  holes  made  by  the  few  nails.  Braces  help  in  rapid 
changes,  for  the  stage  is  really  set  and  the  acting  may  begin 
before  all  the  braces  are  in  place. 

In  some  arrangements,  instead  of  using  the  stage-screw 
through  the  metal  foot  of  the  brace,  a  heavy  weight  is 
placed  upon  it.  While  practicable  for  light  pieces,  or  those 
needed  for  only  a  short  time,  this  weight  is  not  so  secure  as 
the  screw.  A  director  can  frequently  make  use  of  sand 
bags  to  anchor  braces. 

In  order  to  facilitate  changes  on  the  professional  stage 
there  has  recently  come  into  use  a  device  which  will  be  a 
great  boon  to  little  theaters  in  making  changes — if  they 
ever  have  the  stage  space  to  accommodate  it,  and  the  money 
to  carry  it  out  adequately — both  conditions  doubtful  of 
realization.  Low  platforms  upon  rollers  or  small  wheels 
are  constructed.    If  the  space  required  for  acting  is  quite 


I.rRT?  A  T?  Y 
.UNIVERf^T"'Y  OV  r^TTFORNIA 
^  SlA^'TA  BAI^BARA 


102      PRODUCING  IN  LITTLE  THEATERS 

small,  one  such  platform  is  sufficient.  In  other  cases  several 
must  be  provided  which  when  fitted  together  cover  the  floor 
space  of  the  stage  opening.  Upon  these  platforms  are 
erected  the  pieces  of  scenery,  which  then  remain  upon  them. 
The  scenes  are  "  struck  "  or  taken  apart  only  as  necessity 
requires.  All  of  the  scenery  which  can  be  kept  intact  and 
all  properties  and  furniture  remain  upon  the  small  platform 
which  is  rolled  off  to  one  side  out  of  the  way. 

A  large  amount  of  off-stage  space  is  needed  for  such  ar- 
rangements. I  was  told  that  in  The  Masquerader  clearance 
between  platforms  in  many  of  the  changes  was  only  about 
an  inch.  This  device  made  possible  the  changes  in  Eyes 
of  Youth  and  A  Voice  in  the  Dark.  It  was  also  used,  with- 
out the  same  necessity  of  rapid  change,  in  Keep  Her  Smil- 
ing and  Tea  for  Three. 

As  these  platforms  raise  the  scene  floor  above  the  regu- 
lar stage  level,  an  inclined  section  has  to  be  permanently 
installed  across  the  front  of  the  stage,  sloping  up  from  im- 
mediately behind  the  footlights  to  behind  the  curtain  line. 
The  moveable  platforms  are  pushed  tight  up  against  its 
rear,  so  that  no  rough  edges  are  perceptible. 

While  this  device  would  solve  the  ever-annoying  one  of 
stage  waits  and  clumsy  scene  shifting  on  amateur  stages, 
there  is  little  chance  of  its  being  used  widely  because  it 
demands  space  and  money.  And  these  two  things  are  ex- 
actly what  few  if  any  amateur  organizations  ever  have  in 
sufficient  amounts. 

In  planning  for  some  modern  interiors  in  plays  it  is  pos- 
sible to  have  certain  sections  hinged  so  that  fitting  and 
lacing  are  unnecessary.    A  long  straight  back  wall  may  be 


ARTISTIC  AMATEUR  SETTINGS         103 

built  in  two  sections  hinged,  so  that  the  entire  side  of  a 
room  may  be  set  in  a  few  seconds.  As  a  door  usually  has 
wall  space  on  both  sides  another  combination  of  three 
hinged  flats  may  be  evolved.  This  triple  piece  will  serve 
as  a  single  wall  with  the  door  in  the  middle,  or  the  door  can 
be  brought  close  to  a  corner  by  turning  one  flat  down  or 
across  stage  to  start  the  adjoining  wall.  An  arch,  or  wide 
doorway,  may  be  combined  with  two  wall  flats  in  exactly 
the  same  manner.  If  practicable  two  pieces  to  serve  as 
room  corners  might  be  hinged. 

Your  idea  of  what  you  want  should  be  discussed  with 
a  builder  of  professional  scenery.  He  will  show  you  or 
invent  for  you  ingenious  methods  of  carrying  out  your 
projects  of  which  you  would  never  dream. 

Scenery  frames  are  most  satisfactory  when  they  are 
built  by  professional  scene  builders  who  work  accurately 
from  drawn  plans  or  scaled  models,  or  when  they  are  built 
by  good  carpenters  in  exactly  the  same  manner.  Joints 
must  be  firm,  angles  must  be  right  angles,  edges  must  fit, 
doors  must  swing  and  close  freely,  the  frames  must  last. 
Even  for  small  stages  the  cost  of  lumber  is  an  item  to  be 
kept  low. 

Unless  you  are  forced  to,  do  not  use  the  old-fashioned 
painted  borders  to  represent  ceilings.  If  your  stage  has  a 
permanent  ceiling  so  low  that  the  audience  can  see  it,  build 
your  sets  so  that  they  almost  touch  it.  There  may  be  a 
small  space  between  the  scenery  and  the  ceiling,  but  if 
you  make  the  gap  small,  and  treat  properly  the  tops  of  the 
walls,  that  opening  will  not  jar  upon  spectators.  If  the 
stage  slopes  imtil  the  spaces  on  each  side  increase  towards 


104     PRODUCING  IN  LITTLE  THEATERS 

the  front,  that  is,  if  stage  fioor  and  ceiling  are  not  parallel, 
set  the  side  walls  to  point  off-stage  towards  the  front,  and 
these  gaps  will  not  be  so  apparent.  They  will  not  disturb 
any  one  even  if  they  are  seen.     Audiences  accept  worse 


Various  shapes  of  interiors  secured  by  different  arrangements  of 
the  same  pieces  of  scenery. 

things  in  every  professional  performance.  If  your  space 
above  the  stage  will  let  you  hang  a  ceiling,  by  all  means, 
have  one  made.  Have  it  painted  a  color  not  to  attract 
attention. 

Many  scene  designers  in  the  endeavor  to  make  a  stage 
look  like  a  room  have  the  rear  wall  built  as  a  single  piece 


ARTISTIC  AMATEUR  SETTINGS        105 

so  that  no  junctures  are  visible.  The  drawback  about 
such  a  piece  of  scenery  is  that  it  is  rather  heavy  to  move, 
bulky  to  stack,  and  too  long  to  use  anywhere  else.  For 
small  stages  the  best  rule  is  to  have  all  scenery  made  in 
sections.  Determine  upon  some  unit  of  size,  then  have  all 
pieces  related  to  that  same  scale.  Make  all  the  large  flats 
the  same  width;  then  have  a  few  smaller  sections  (called 
jogs)  to  provide  alcoves,  angles,  projections,  etc.  For  in- 
stance, if  your  stage  space  permits,  decide  upon  twenty-one 
feet  as  width  and  fourteen  feet  as  depth  of  the  usual  full 
stage  space.  Keep  this  size  as  the  unit  of  the  largest  three 
wall  interiors  you  will  set.  Then  design  all  your  scenery 
with  relation  to  this  standard  size.  Make  all  doors  the 
same  size.  Make  arches — wide  doorways — twice  the  size 
of  a  single  door.  Make  the  rear  wall  in  three  s3ctions  each 
seven  feet  wide,  the  side  walls  of  two  sections  each  of  the 
same  size.  Two  or  four  narrow  jogs  one-fourth  the  size  of 
the  larger  flats  will  provide  for  rearrangements.  Extra 
sections  can  be  added  if  unusual  doors  and  windows  are 
needed  as  for  instance  doors  with  transoms  or  windows  with 
real  glass  to  be  broken.  Carry  this  same  system  of  unit 
or  related  sizes  into  all  the  scenery  you  construct.  Have 
your  steps,  platforms,  cubes,  columns,  pylons,  if  any  are 
needed,  bear  some  mathematical  relation  to  the  other  parts 
of  your  settings.  But  do  not  buy  or  build  anything  until 
you  need  it.  Even  then,  see  if  something  you  already  have 
will  not  serve.  Thus,  your  scenery  will  be  practicable 
for  many  purposes. 

Learn  by  other  peoole's  errors  as  well  as  by  their  achieve- 
ments. An  enthusiastic  club  director  told  me  of  the  re- 


io6     PRODUCING  IN  LITTLE  THEATERS 

markable  dining  room  interior  she  had  just  had  finished 
by  professional  scene  builders  in  which  the  plaster  was 
gone  from  parts  of  the  walls,  leaving  the  laths  beneath  ex- 
posed. She  had  actually  had  those  holes  painted  upon  the 
newly  made  scenery,  rendering  it  useless  for  any  play  ex- 
cept the  one  in  rehearsal.  When  I  suggested  that  the  room 
should  have  been  finished  properly,  and  then  those  marks 


rs' 


Interior  of  room  showing  combination  of  pieces. 

of  decay  painted  upon  pieces  of  canvas  and  attached  to 
the  walls  for  this  one  time  only,  she  nearly  fainted.  No 
idea  of  future  uses  of  that  large  set  had  ever  entered  her 
head.  A  productions  committee  ordered  an  interior  set  for 
an  English  comedy.  An  idea  of  spaciousness  was  to  be 
secured  upon  the  small  stage  by  designing  a  deep  box  set. 
The  rear  wall  was  built  of  three  flats  with  a  door  in  the 
middle  one.  That  was  good.  Each  side  wall  also  was  of 
three  pieces.  The  two  nearest  the  footlights  were  each 
seven  feet  wide;  the  one  joining  the  rear  wall  was  six.  If 
there  had  been  a  necessity  of  economizing,  two  of  these 
flats  could  have  been  dispensed  with  easily  merely  by  in- 


ARTISTIC  AMATEUR  SETTINGS        107 

creasing  the  width  of  the  two  front  ones  from  seven  feet 
to  eight  feet  or  even  eight  and  one  half.  The  three  or 
four  feet  cut  off  the  depth  of  the  room  would  not  have 
impaired  either  the  acting  or  the  appearance.  Reducing 
the  number  of  pieces  to  be  handled  also  makes  for  better 
stage  manipulation  in  amateur  productions.  Another  di- 
rector with  one  set  which  had  served  in  several  plays  al- 
ready, added  Greek  shields  to  give  a  classic  tone,  and  at 
another  time  stretched  a  decorative  Chinese  border  painted 
on  paper  around  the  top  to  secure  an  oriental  effect. 

Remember  always  that  arrangement,  furniture,  hangings, 
and  costumes  will  help  amazingly  in  securing  effects. 


CHAPTER  VII 
CREATING  THE  STAGE  PICTURE 

Foe  setting  realistic  plays  a  good  general  rule  is  to  set 
them  realistically.  This  does  not  mean  that  one  should 
go  so  far  as  the  limits  of  inclusiveness  exhibited  by  Mr. 
Belasco  in  The  Return  of  Peter  Grimm,  ever  since  its  run 
held  up  as  the  absolute  reductio  ad  absurdum  of  fidelity 
to  things  as  they  are.  But  it  does  mean  that  the  setting 
should  be  in  the  tone,  in  the  style,  in  the  atmosphere  of 
the  drama  itself.  When  a  director  turns  to  drama  of  other 
kinds,  he  must  invoke  different  methods.  Romantic,  his- 
torical, poetic,  costume,  fanciful  dramas  admit  of  treat- 
ments in  the  same  veins.  They  allow  originality,  bizarre 
effects,  pictorial  settings,  spectacular  appeals. 

Some  directors  have  peculiar  talents  in  one  or  another 
of  the  preceding  kinds.  One  will  be  at  his  best  with  real- 
istic matters,  another  will  be  successful  only  with  the  his- 
torical, a  third  will  always  be  able  to  create  unusual  stage 
decorations.  In  your  amateur  organization,  therefore,  you 
should  try  to  fit  the  group  producing  it  to  the  play  itself. 
One  pair  who  will  be  applauded  for  oriental  scenic  and 
costume  effects,  may  fail  ignominously  with  the  G.  Bernard 
Shaw  dentist's  office  in  You  Never  Can  Tell.  There  is  as 
much  real  stage  ability  in  a  good  realistic  set  as  in  any 
other  kind,  but  most  amateurs  will  always  feel  that  there 
are  more  opportunities  for  original  creation  in  the  others. 

io8 


CREATING  THE  STAGE  PICTURE       109 

If  you  are  going  to  present  even  a  few  dramas  outside 
the  realistic  field  you  will  likely  find  many  chances  to  use 
a  back-drop  answering  the  purposes  of  a  cyclorama.  For 
this,  in  all  usual  amateur  productions,  a  back-drop  as  large 
in  both  dimensions  as  possible  is  all  that  need  be  provided. 
In  having  it  painted,  do  not  make  the  mistake  of  having  it 
colored  a  flat  bright  blue.  I  know  of  one  like  this;  it  was 
evolved  as  a  notable  experiment.  It  looks  always  like 
nothing  except  a  kalsomined  kitchen  wall.  Have  your 
back-drop  painted  quite  light  at  the  bottom,  gradually 
growing  bluer  as  the  color  rises.  Take  a  discriminating 
squint  at  the  heavens  from  the  horizon  up  towards  the 
zenith  on  any  clear  day,  and  you  will  get  about  the  proper 
gradation  of  color.  Dark  blue  lights  will  make  this  as 
deep  as  any  night  sky,  while  red  and  yellow  will  tint  it 
beautifully  for  dawn  or  sunset.  White,  in  varying  degrees, 
will  make  it  cold  and  chill. 

Before  such  a  drop  you  can  suggest  practically  any- 
thing demanded  by  plays.  A  medieval  town  can  be  pic- 
tured if  you  set  a  wall  across  the  stage  near  the  rear,  then 
mask  at  each  side  by  showing  the  ends  of  houses.  You  can 
represent  four  streets  converging  in  an  open  space.  Or  at 
one  side  you  may  set  the  corner  of  a  house,  at  the  other 
trees  or  formal  hedges  to  suggest  the  garden,  and  across 
the  back  a  wall  or  high  trimmed  hedge  with  high  barred 
gates.  A  few  low  rock  pieces,  some  scrubby  trees,  and  a 
few  gaunt,  taller  ones  to  mask  the  sides,  will  suggest  a 
bleak  wind-swept  plateau  or  table-land  against  the  clear 
blue  sky.  Put  a  low  line  of  hills  some  feet  before  this 
same  back-drop,  or  the  blue  of  a  distant  river  with  the  sil- 


no     PRODUCING  IN  LITTLE  THEATERS 

houette  of  a  town  on  its  further  side,  erect  an  angled  orien- 
tal house-wall  at  one  side  of  the  stage  with  a  few  palms 
projecting  above  it,  and  at  the  other  side  erect  a  city  gate, 
and  you  have  an  eastern  exterior  setting  to  serve  for  many 
different  plays. 

If  you  set  a  pair  of  wood  wings  at  right  and  left  of  the 
stage,  giving  the  suggestion  of  hedges  and  clipped  copses, 
a  pair  of  lower  hedges  towards  the  rear,  behind  them  some 
Lombardy  poplars  lower  than  the  side  trees,  and  directly 
behind  the  break  in  the  hedge  at  the  center,  some  flower 
urns  and  the  top  of  a  flight  of  steps,  you  will  have  the  ter- 
race of  a  formal  garden  quite  suitable  for  all  of  Love's  La- 
bor's Lost  and  Olivia's  garden  in  Twelfth  Night. 

A  blue  sky  is  usually  exactly  the  proper  backing  to  be 
seen  through  the  windows  of  an  interior  set.  So  useful  is 
such  a  back-drop  that  one  might  almost  say  it  should  be 
the  first  piece  of  scenery  to  be  purchased  for  an  amateur 
stage. 

Though  your  available  equipment  of  scenery  is  restricted, 
try  to  avoid  monotony.  Remember  that  amateurs  have 
made  greater  strides  in  the  material  aids  to  production 
than  in  anything  else.  Try  in  your  case  to  make  your 
acting  as  good  as  the  sets  your  artistic  staff  can  evolve. 
Do  not  adopt  any  single  device  of  stage  decoration  and  use 
it  so  frequently  that  it  becomes  monotonous.  Try  for  as 
many  different  kinds  of  effects  as  you  can  conceive.  Mo- 
notony will  always  repel  audiences.  Lord  Dunsany's  most 
recent  skit,  A  Good  Bargain,  may  be  set  unconventionally, 
but  the  interior  for  his  tragedy,  A  Night  at  an  Inn,  can  be 
nothing  except  a  room  in  an  abandoned  hostelry.    Ingenu- 


CREATING  THE  STAGE  PICTURE       iii 

ity  would  be  not  only  wasted  on  it,  but  dangerous  for  the 
effect  of  the  tragedy.  Many  plays  of  Shakespeare  can 
be  acted  before  curtains,  but  hardly  Strin,dberg's  The 
Stronger,  which  prescribes  "  A  corner  of  a  ladies'  restau- 
rant." That  charming  French  pantomime,  Pierrot  the  Pro- 
digal, may  fittingly  be  performed  in  settings  which  sug- 
gest a  child's  picture-book  but  it  would  be  the  height  of 
ridiculous  folly  to  put  Shaw's  Candida  or  You  Never  Can 
Tell  in  such  surroundings.  Alfred  Kreymborg's  Lima  Beans 
may  be  as  futuristic  as  you  please.  But  the  first  act  of 
Moliere's  Le  Medecin  Malgre  Lui  cannot  be  acted  among 
trees  fantastically  created  by  folds  of  colored  cloth  drop- 
ping from  the  stage  loft,  because  every  one  in  the  audi- 
ence would  recognize  the  silliness  of  trying  to  cut  faggots 
from  any  part  of  that  impossible  forest.  It  is  in  such  spread- 
ing of  devices,  excellent  within  limitations,  to  the  wide  field 
of  all  drama  that  enthusiastic  art  directors  make  their 
monumental  blunders. 

Let  us  consider  a  few  detailed  specifications  for  stage 
settings  of  the  kinds  of  plays  for  which  amateurs  are  likely 
to  need  help. 

First  considerations  are  that  there  must  be  something 
at  the  back  of  the  stage,  and  something  at  each  side  to 
mask  the  spaces  beyond.  This  necessity  of  providing  scen- 
ery to  cover  the  sides  of  the  stage  has  frequently  had  a  de- 
cided influence  upon  the  setting  which  the  dramatist  chooses 
for  his  play.  We  are  told  that  Synge  first  planned  to  have 
The  Playboy  of  the  Western  World  open  in  the  plowed  field 
where  Christy  strikes  his  father,  but  he  could  not  see  any 
possible  side  wings  for  that  wide,  windy  corner  of  high,  dis- 


112      PRODUCING  IN  LITTLE  THEATERS 

tant  hills.  Eugene  O'Neill  gave  the  scenery  designer  a  d'f- 
ficult  task  in  his  descriptions  of  the  open  spaces  in  Beyond 
the  Horizon,  the  last  scene  of  which  was  not  even  put  upon 
the  stage. 

Shakespeare's  The  Comedy  of  Errors  might  be  acted  in 
a  picturesque,  conventionalized  Elizabethan  stage,  such  as 
Walter  Hampden  used  in  his  Hamlet  except  that  Shake- 
speare so  definitely  demands  knocking  on  a  gate  in  full 
view  of  the  audience  that  some  provision  must  be  made 
for  that  comedy  feature.  If  a  different  kind  of  set  is  at- 
tempted, let  me  suggest  one  which  will  answer. 

Hang  a  blue  back-drop  across  the  rear  of  the  stage. 
Several  feet  in  front  of  it  erect  a  wall  some  six  or  seven 
feet  high,  above  which  extend  several  tree  profiles.  Have 
a  gate  a  little  to  one  side  of  stage  center.  Having  placed 
as  much  of  this  as  space  permits,  erect  in  front  of  it  all 
the  interior  for  the  first  scene  of  the  play.  This  may  be 
merely  a  small  boxed  interior,  decorated  with  shields,  hang- 
ings, and  furnishings  to  suggest  a  room  in  the  Palace  of 
the  Duke  of  Ephesus.  Easily  removed,  it  does  not  delay 
the  action  of  the  first  act.  If  you  want  some  slight  novelty, 
you  might  make  only  two  walls  visible,  sloping  one  gradu- 
ally almost  fully  across  stage,  then  bringing  the  short  one 
sharply  down  towards  the  corner.  Or  you  might  have  col- 
umns at  the  back  mark  open  spaces  through  which  show 
stretches  of  the  trees  and  sky,  which  are  already  set  for 
the  subsequent  scenes.  After  the  interior  has  been  re- 
moved, place  a  couple  of  houses,  right  and  left;  arrange 
a  few  Greek  stone  benches  about  the  open  space,  and  you 
need  make  no  further  changes  for  any  following  scenes  of 


CREATING  THE  STAGE  PICTURE       113 

the  play.  In  the  last  act  the  nunnery  from  which  the  long- 
lost  mother  and  wife  is  summoned  can  be  imagined  as  off- 
stage. As  the  last  act  proceeds,  an  effective  change  in 
lighting  will  enhance  the  scene.  One  character  remarks, 
"  The  dial  points  at  five,"  so  sunset  colors  may  spread 
over  the  back  sky,  then  advance  to  the  fore-stage  to  tint 
the  entire  picture. 

Such  a  method  will  produce  attractive,  beautiful  settings 
at  little  cost.  This  plan  might  almost  be  called  a  stationary 
setting. 

Quite  different  are  the  demands  made  by  Calthrop  and 
Barker's  The  Harlequinade,  a  play  admirably  suited  to 
amateur  actors  and  audiences. 

This  fantastic  excursion  requires  five  different  sets.  They 
are  the  Banks  of  the  Styx,  an  Italian  Garden,  Lord  Eglan- 
tine's Room,  the  Ninety-ninth  Street  Theater,  exterior  and 
interior.  The  last  scene  shows  the  Banks  of  the  Styx 
again. 

So  many  sets  present  difficulties  for  amateurs.  For  this 
play  the  matter  is  all  the  more  complicated  because  the 
changes  of  scenery  must  be  made  within  a  certain  time,  as 
two  characters  before  the  curtain  go  on  talking  and  an- 
nounce the  next  scene.  They  even  give  the  signal  for  the 
curtain.  To  have  the  play  move  smoothly,  the  stage  must 
be  completely  set  by  that  time.  These  requirements  were 
met  in  the  first  production  in  America  of  The  Harlequinade 
by  hanging  a  blue  back-drop  at  the  extreme  rear  of  the 
stage.  Just  in  front  of  this  was  set  as  much  of  the  ter- 
race, ballustrades,  trees,  and  shrubbery  of  the  Italian  gar- 
den as  space  would  permit.     For  borders,  black  draped 


114     PRODUCING  IN  LITTLE  THEATERS 

hangings  were  used,  while  long  black  curtains  served  as 
wings.  These  borders  and  side  draperies  remained  un- 
changed throughout  the  whole  performance,  serving  as 
black  frames  around  the  colored  pictures  set  within  and 
behind  them. 

Before  the  portions  of  the  garden  already  set  were 
stood  two  rock-like  profiles  to  suggest  the  bleak  Banks  of 
the  Styx.  Under  a  cold  blue  light  they  seemed  as  unreal 
as  Hades  should  be.  In  direct  lines  parallel  to  the  foot- 
lights, shafts  of  colored  lights  were  thrown  straight  across 
the  stage,  making  various  planes  of  light.  Such  distribu- 
tion made  possible  the  entrance  of  Mercury  in  a  brilliant 
high  light,  while  all  the  other  characters  on  the  stage  stood 
in  subdued  amber. 

When  this  scene  was  concluded  only  the  two  profiles  and 
a  couple  of  rocks  had  to  be  removed.  A  couple  of  tree 
wings  were  set  and  the  Italian  garden  was  complete.  To 
dress  the  eighteenth  century  room  of  Lord  Eglantine  col- 
ored drapes  were  lowered  from  above,  and  a  blue  and  white 
wall  was  set  straight  across  the  rear.  Furniture,  pictures, 
and  costumes  did  the  rest.  The  exterior  of  the  Ninety- 
ninth  Street  Theater  was  a  shallow  scene  before  a  garish 
curtain  containing  advertising  signs,  lowered  near  the  front. 
Behind  it  was  set  the  black,  white,  and  green  futuristic  in- 
terior made  by  a  single  back-drop.  The  removal  of  this, 
and  the  replacing  of  the  rock  profiles  of  the  first  scene 
revealed  again  the  blue  back-drop  and  the  Banks  of  the 
Styx. 

The  recommendation  has  been  given  that  scenery  should 
be  constructed  by  professional  scene  builders.    There  may 


CREATING  THE  STAGE  PICTURE       115 

be  a  great  deal  of  fun  and  some  experience  involved  in 
concocting  amateur  sets  carpentered,  covered,  and  painted 
by  tyros,  and  in  some  instances  where  that  peculiar  educa- 
tional fetish  "  self-expression "  is  sought,  such  practices 
may  be  indulged  in.  If  such  sets  indicate  their  origin  and 
growth  by  awkward  angles,  crooked  lines,  sprawling  de- 
signs, yawning  gaps,  and  difficulty  of  manipulation,  the 
audience  will  be  tolerant  and  generous  in  allowances,  but 
the  fact  remains  that  what  they  are  being  offered  is  not  a 
good  production  but  a  makeshift.  For  amateurs  the  ease 
of  changing,  the  lightness,  and  the  durability  of  well-made 
scenery  overweigh  all  objections  against  it. 

I  know  of  one  school  which  had  built  in  19 12  an  interior 
set  of  which  each  flat  is  fourteen  feet  high,  seven  feet  wide. 
There  are  two  jogs  to  make  alcoves  or  projections,  bring- 
ing the  number  of  pieces  to  ten.  Two  of  the  large  flats, 
hinged,  make  an  arch,  or  wide  doorway,  which  is  usually 
draped  with  curtains.  There  are  two  ordinary  doors. 
Carrying  out  the  principle  laid  down  some  pages  back  of 
not  having  the  interior  walls  suggest  too  decidedly  any 
one  period,  an  artist  and  a  professional  scene  builder  were 
consulted  by  the  director  of  plays.  Hundreds  of  colored 
sketches  of  interiors  from  the  scenery  company's  plates 
were  examined,  stage  settings  were  compared,  and  finally 
a  rather  severe,  lined,  paneled  wall  was  decided  on.  The 
color  scheme  was  determined  with  relation  to  possible  fu- 
ture uses  as  well  as  the  one  then  contemplated.  As  the 
auditorium  walls  and  curtain  were  tan,  the  scenery  colors 
were  chosen  in  tan,  gray,  and  gray  green.  The  features 
of  the  walls  are  the  plainest  of  moldings  and  panels.     In 


ii6      PRODUCING  IN  LITTLE  THEATERS 

its  years  of  frequent  and  none  too  gentle  handling  it  has 
served  in  a  score  of  totally  different  plays  from  Acts  I  and 
V  oi  A  Midsummer  Night's  Dream  to  a  modern  apart- 
ment. Treatment  of  the  walls,  and  the  furniture  make 
these  settings  convincing.  It  has  been  modified  and  ampli- " 
fied  in  the  following  ways. 

For  a  modern  original  comedy,  French  doors  were  added 
to  the  wide  doorway.  When  The  Far-Away  Princess  by 
Sudermann  was  produced  the  effect  of  a  porch  had  to  be 
secured.  The  wide  doorway  was  set  with  a  large  gauze 
panel.  An  extra  flat  exactly  like  the  original  was  built, 
but  in  it  was  set  a  corresponding  gau;  )  panel.  To  make 
a  smaller  window  through  which  the  young  student  climbs, 
one  of  the  doors  of  the  original  set  had  a  panel  built  across 
the  bottom.  Above  this  was  hung  a  swinging  gauze  panel 
to  represent  a  glass  window.  Behind  all  these  was  set 
foliage,  tree,  and  sky  backing. 

At  another  time,  Zaragileta,  by  the  two  popular  Span- 
ish playwrights,  Carrion  and  Aza,  was  staged.  The  cul- 
mination of  this  two-act  farce-comedy  depends  upon 
drenching  the  faultlessly  tailored  Zaragueta  with  water 
from  a  garden  force-pump.  The  hose  is  stuck  through 
the  transom  of  a  door  behind  which  a  different  person  is 
believed  to  be  hiding.  The  old  interior,  with  pictures,  fur- 
niture, hangings,  added,  and  the  brilliant  Spanish  costumes 
of  the  characters,  served  admirably.  All  that  had  to  be 
constructed  was  another  flat,  this  time  with  a  door  above 
which  swung  a  practicable  transom.  One  little  incongruity 
was  easily  eradicated.    This  transomed  door  had  to  be  very 


CREATING  THE  STAGE  PICTURE       117 

close  to  another  one.  The  two  doors  of  the  original  sets 
had  no  transoms.  It  would  not  do,  of  course,  to  put  in  the 
same  wall  one  doorway  without  a  transom  and  one  door- 
way with  that  addition.  There  was  no  need  to  have  con- 
structed another  fiat  for  the  second  transom  is  not  used  in 
the  play.  The  scene  painter  duplicated  on  a  piece  of  canvas 
the  transom  which  had  been  carpentered.  This  small  rec- 
tangle of  canvas  was  fastened  above  the  second  doorway. 
After  the  play  it  was  removed  and  kept  for  future  use. 
As  a  matter-of-fact,  some  five  years  later  it  was  used  in  a 
second  production  of  the  same  play. 

For  Fanny  and  the  Servant  Problem,  also  known  as  The 
Second  Lady  Bantock,  by  Jerome  K.  Jerome,  it  was  easy  to 
provide  furniture,  fire-screens,  rugs,  hangings,  and  paint- 
ings. The  central  feature  of  this  English  drawing  room  is 
a  portrait  of  a  family  ancestor.  To  emphasize  this  an 
alcove  was  set  in  the  rear  wall  by  means  of  the  jogs.  As 
the  best  feature  to  center  attention  in  one  part  of  a  room 
is  a  fireplace,  one  with  a  mantel  was  built  for  this  occa- 
sion. Above  it  the  portrait  of  the  former  Lady  Bantock 
was  hung.  An  electric  bulb  on  the  mantel  shelf  below  it 
gave  another  chance  to  center  interest  upon  it  by  having 
the  young  hero  turn  on  the  light  as  he  explained  to  his  wife 
the  veneration  of  the  family  for  the  original  of  the  paint- 
ing. In  a  side  wall  the  wide  doorway  became  the  opening 
to  a  wide  recessed  window,  the  sides  of  which  were  made 
of  the  two  French  doors,  while  the  window  itself  was  the 
wide  gauze  panel,  already  described  as  having  been  madf 
for  Sudermann's  The  Far-Away  Princess. 


ii8     PRODUCING  IN  LITTLE  THEATERS 

With  little  upon  the  walls  this  same  set  framed  The  Dear 
Departed  by  Stanley  Houghton  and  the  later  acts  of  Le 
Medecin  Malgrc  Lui.  More  recently  it  was  utilized  for  Le 
Bourgeois  Gentilhomme,  but  for  this  play  the  flats  were 
covered  with  beautiful  long  tapestries  borrowed  from  a 
director  who  had  them  made  to  hang  upon  the  walls  of 
the  English  country  house  required  in  Art  and  Opportunity 
by  Harold  Chapin.  Incidentally,  ten  days  after  they  had 
adorned  the  Paris  house  of  Monsieur  Jourdain  they  draped 
the  small  stage  of  a  little  theater  as  a  room  in  a  Sultan's 
harem.  In  Monsieur  Jourdain's  house,  these  draperies 
came  almost  to  the  floor.  The  strip  of  wall  space  below 
them  was  broken  from  the  view  of  the  audience  by  calcu- 
lated placing  of  pieces  of  furniture,  or  screens  with  strips 
of  brightly-colored  cloths  thrown  across  them  to  catch  and 
hold  the  eye.  Denuded  of  its  tapestried  coverings  this 
same  interior  three  days  later  with  different  furniture  was 
housing  a  fashion  and  food  show  to  exhibit  the  work  of 
the  domestic  science  department  of  the  school. 

The  foregoing  is  some  indication  of  the  varied  uses  to 
which  the  front  of  this  scenery  has  been  put.  This  set 
had  also  another  side.  Its  frames  were  very  well  made. 
About  seven  feet  above  the  bottom,  cross-pieces  of  wood 
were  placed.  Strips  at  forty-five  degrees  brace  the  bottom 
and  top  corners. 

The  rear  side  of  many  sets  built  for  amateur  use  is  quite 
usually  decorated  as  a  kitchen  in  the  walls  of  which  the 
frames  just  described  are  painted  as  wooden  joists  while 
the  canvas  panels  are  covered  with  a  flat  tint.  Or  some 
other  room  may  be  indicated  by  utilizing  these  same  divi- 


PliotngiMi'li    by    lii'itt 


Above  :     The  Bracelet,  by  Alfred  Sutro.     Cornell  Dra- 
matic Club  at  the  New  York  State  Fair,  Syracuse. 


Below :     Dream  Boats,  by  Dugald  Walker.     The  Col- 
lege Club,  Cleveland. 


CREATING  THE  STAGE  PICTURE       119 

sions.  Many  amateur  directors  do  not  seem  to  realize  the 
practicability  of  such  rear  views.  I  know  of  one  school 
organization  which,  during  the  war,  was  to  present  a  one- 
act  comedy  of  the  district  behind  the  lines  in  France. 
Knowing  that  during  the  next  autumn  the  school  wanted 
to  produce  The  Taming  of  the  Shrew,  this  first  group,  when 
it  had  its  scenery  built,  generously  had  its  French  kitchen 
painted  on  the  rear  so  that  the  next  users  could  paint  upon 
the  level  canvas  front  a  wainscoted  Elizabethan  room. 

There  are  more  things  to  enumerate  concerning  the  first 
interior  being  considered  here. 

When  The  Comedy  of  Errors  was  put  into  rehearsal  it 
was  decided  to  make  only  one  change  of  setting  after  the 
first  scene.  In  order  to  do  that  quickly,  as  much  of  the 
stage  as  could  be  was  set  with  suggestions  of  an  "  open 
space  in  Ephesus  "  for  the  main  portion  of  the  drama. 
For  the  first  scene,  "  A  hall  in  the  Duke's  palace,"  only  one 
corner  of  the  spacious  room  was  shown.  This  was  done 
by  setting  in  a  long,  gradually  receding  line  several  flats 
to  represent  one  wall  stretching  almost  entirely  across  the 
stage ;  then  from  its  corner  a  short  wall  was  brought  sharply 
down  stage  to  the  edge  of  the  proscenium  opening. 

The  wooden  frames  which  show  on  the  rear  of  the  in- 
terior pieces  were  painted  black,  and  the  canvas  was  tinted 
tan.  The  rear  of  one  door  was  painted  to  suggest  a  heav- 
ily timbered  gray  and  black  one.  Upon  the  upper  panels 
were  hung  round  silvered  Greek  shields.  A  couple  of 
stone  benches,  several  animal  skins  flung  over  them  and 
on  the  floor,  and  the  characters  in  their  Greek  costumes, 
set  the  stage  quite  effectively  for  scene  I  of  The  Comedy  of 


120     PRODUCING  IN  LITTLE  THEATERS 

Errors.  When  the  rear  of  such  scenery  is  turned  toward 
the  audience  it  may  be  necessary  to  devise  some  method 
for  fastening  it  other  than  by  lacing,  for  the  ropes  stretch- 
ing from  near  the  top  to  near  the  bottom  may  appear  in- 
congruous. In  this  case  the  flats  were  overlapped  a  few 
inches.  The  lines  were  thrown  over  the  top  and  tied  to 
stage  braces  which  thus  were  held  tight  against  the  scenery 
frames.     This  facilitated  quick  striking. 

A  few  years  later  these  black  and  tan  flats  were  in- 
creased in  number  to  set  the  drinking  scene  in  Twelfth 
Night.. 

For  The  Chinese  Lantern  by  Laurence  Housman,  some 
adaptations  were  made.  The  open  arch  was  used  as  the 
frame  of  the  painting  by  the  old  master  from  which  the 
painter  himself  miraculously  comes  to  life.  Behind  this 
opening  the  picture  itself  was  built — a  platform,  vase,  rail- 
ing, rug,  mandolin,  a  tree  branch  painted  on  paper,  and 
black  velvet  curtains  being  used.  The  placing  and  manipu- 
lation of  lights  to  effect  the  mystery  belong  to  the  discus- 
sion of  lighting.  The  large  gauze  window  prepared  for 
the  porch  of  A  Far-Away  Princess  was  outlined  in  black, 
then  covered  with  translucent  paper  through  which  colored 
light  might  be  thrown.  To  bind  the  room  together  a 
Chinese  design  of  straight  lines,  a  few  curves,  many  squares 
and  rectangles,  was  painted  in  black,  tan,  and  blue  in  sec- 
tions upon  pieces  of  ordinary  brown  wrapping  paper.  These 
were  hung  around  the  tops,  both  decorating  the  chamber 
and  hiding  the  corner  braces,  some  of  which  for  other  uses 
had  been  painted  black  and  seemed  slightly  out  of  har- 
mony in  a  Chinese  studio.     It  would  have  been  a  grave 


CREATING  THE  STAGE  PICTURE       121 

mistake  to  paint  that  border  on  the  scenery  itself.  Although 
the  stage  may  appear  large  and  slightly  bare  in  an  illustra- 
tion it  must  be  remembered  that  Oriental  costumes  are 
brilliant  and  beautiful,  and  that  this  play  provides  for 
large  numbers  of  people  and  much  action  upon  the  stage. 
This  school  stage  set  should  be  compared  with  the  set  de- 
signed and  especially  built  for  this  same  play  by  Sam  Hume 
pictured  in  Theater  Arts  for  February,  1917. 

This  one  set  of  scenery,  front  and  rear,  has  in  eight 
years  served  for  two  original  plays,  A  Midsummer  Night's 
Dream,  The  Far-Away  Princess,  The  Dear  Departed,  Zara- 
giieta,  Twelfth  Night,  The  Comedy  of  Errors,  The  Chinese 
Lantern,  The  Birds'  Christmas  Carol;  he  Medecin  Malgre 
Lui,  Le  Bourgeois  Gentilhomme,  Fanny  and  the  Servant 
Problem,  Ulysses,  and  Green  Stockings. 

One  little  theater  had  an  interior  set  built  for  one  of 
the  acts  of  The  Honeymoon  by  Arnold  Bennett.  It  is  an 
English  room  in  which  the  brown  timbers  show  around  the 
plastered  panels.  Had  there  been  a  need  of  economy  this 
might  have  been  painted  upon  the  rear  side,  utilizing  the 
necessary  wooden  frames  as  part  of  the  room  woodwork. 
One  third  of  the  set  consists  of  a  low  piece  about  ten  feet 
wide  by  eight  high.  Almost  the  entire  upper  portion  of 
this,  down  to  about  twenty-four  inches  from  the  floor,  is 
cut  out.  This  opening  is  filled  at  times  by  window  sashes 
hinged  at  the  sides.  Behind  it  the  eye  of  the  spectator 
meets  either  the  blue  back-drop,  a  cyclorama,  or  some 
backing  of  foliage.  At  each  side  edge  of  this  section  is 
hinged  another  which  has  an  upper  line  sharply  rising  until 
it  reaches  the  ordinary  ceiling  height  of  a  room,  say,  some 


122     PRODUCING  IN  LITTLE  THEATERS 


twelve  feet.  All  the  other  pieces  belonging  to  this  room 
are  this  latter  height.  The  general  effect  is  of  a  cozy, 
irregular  English  house,  with  quaint  odd  corners  about  it. 
Another  advantage  is  that  a  small  ceiling  covers  the  larger 
part  of  the  room.  Variety  can  be  secured  by  placing  the 
doors  at  various  points,  by  shifting  the  position  of  a  right- 
angled  projection  which  must  eke  out  the  three  flap  com- 
bination to  make  the  wall  long  enough,  by  the  hangings,  and 
the  furniture.    Shortly  after  its  appearance  in  The  Honey- 


Cottage  interior,  with  sloping  ceiling  over  rear  alcove. 

moon  it  served  admirably  for  the  villager's  humble  cottage 
in  The  Point  of  View  by  Eden  Phillpotts.  It  also  repre- 
sented the  first  scene  of  Hindle  Wakes,  and  the  one  set  in 
The  Tragedy  of  Nan.  The  last  time  I  saw  it  it  had  risen  in 
dignity.  Sobered  by  evening  lighting,  soft  rugs,  religious 
pictures  and  books,  a  library  table,  a  reading  lamp,  a  green 
crucifix  upon  the  wall,  and  darkness  outside,  it  was  the 
Canon's  study  in  the  third  act  of  Don  by  Rudolph  Besier. 
Thus,  within  a  few  months  this  one  small  interior  had  served 
at  least  five  different  purposes. 

Interiors  can  be  so  easily  decorated  and  beautified  by 
hangings  and  furniture  that  they  lend  themselves  more  flex- 


CREATING  THE  STAGE  PICTURE      123 

ibly  to  differentiation  than  do  exteriors.  Some  of  the  at- 
tempts of  professionals  with  space,  material,  and  experience 
at  their  command  are  so  ludicrous  that  amateurs  need  not 
be  discouraged  at  their  shortcomings.  The  boldest  pro- 
fessional instance  of  utilization  of  equipment,  which  I  am 
trying  to  outline  here  for  amateurs,  I  saw  in  New  York  in 
the  winter  of  191 9- 1920  in  the  stage  settings  of  Acts  I 
and  III  of  a  crude  melodrama  entitled  The  Storm.  The 
scene  is  laid  in  a  deep  forest  of  the  Canadian  Northwest. 
Behind  the  mechanical  tree  trunks  rising  high  above  the 
eye  line  was  hung  the  back-drop  upon  which  more  forest 
was  painted  except  down  the  middle  where  a  break  was 
left  in  the  trees  to  show  the  distant  windings  of  a  wood- 
land stream  meeting  far  away  the  dull  gray  of  the  sky  line. 
These  two  features  of  the  landscape — sky  and  water — had 
to  be  in  light  colors  to  take  the  red  glow  of  the  onrushing 
forest  fire,  which  supplies  the  real  thrill  of  the  uncouth 
woodland  bedroom  melodrama.  Straight  across  the  back- 
drop, not  so  clearly  discernible  among  the  darker  colors  of 
the  trees,  but  as  plain  as  black  lines,  stretched  the  horizon- 
tal ends  of  the  seams  of  the  canvas,  which,  unquestionably, 
painted  on  its  front  for  some  other  play,  had  been  resur- 
rected from  the  storehouse  to  be  utilized  again.  Perhaps 
I  should  never  have  noticed  this  if  the  play  had  held  my 
attention  ^nore  closely,  and  if  I  had  not  myself  used  the 
rears  of  several  back-drops  in  amateur  productions. 

The  first  portion  of  any  exterior,  I  should  recommend, 
is  the  light  blue  sky  back-drop  already  described.  This 
should  be  as  wide  and  as  long  as  the  outside  limits  of  your 
space  will  permit.     If  you  can  afford  two,  so  much  the 


124     PRODUCING  IN  LITTLE  THEATERS 

better.  Have  a  straight  one  clear  across  the  back  of  the 
stage.  Have  a  curved  one  long  enough  to  extend  quite 
around  past  the  line  of  sight  at  the  edges  of  the  proscenium 
opening.  Unless  these  go  extremely  far  above  the  stage 
you  may  have  to  add  borders  before  them  to  mask  the 
border  lights,  hanging  scenery,  tackle,  etc.  It  is  not  abso- 
lutely necessary  to  stretch  them  tightly,  as  small  folds 
sometimes  produce  agreeable  and  natural  variations  of  tone 
in  color  and  lighting,  but  the  fewer  folds  there  are  the  bet- 
ter the  effect.  If  painted,  the  blue  should  not  be  a  fiat 
tone;  let  it  reproduce  the  actual  color  of  sky — light  at  the 
horizon,  gradually  deepening  towards  the  zenith,  as  already 
described.  Make  it  light  enough  to  take  such  colors  as 
you  consider  necessary.  The  effect  of  a  tightly-stretched, 
evenly-colored  canvas  panel  has  been  described  already; 
it  resembles  a  kalsomined  kitchen  wall. 

Before  such  a  back-drop  you  may  put  practically  any- 
thing you  design,  and  light  it  exactly  as  nature  or  your 
fancy  directs. 

Several  years  ago  such  a  back-drop  was  made  for  a  stage 
upon  which  was  to  be  produced  Love's  Labor's  Lost.  To 
save  money  it  was  agreed  to  enact  all  the  scenes  in  a  single 
set.  The  artificiality,  the  balance,  the  preciosity  of  the 
comedy  gave  the  cue  for  the  scenery.  At  each  side  were 
set  hinged  wood-wings  in  balanced  pairs.  Those  nearest 
the  footlights  showed  clipped  dark  green  hedges  above  a 
low  border  of  pink  and  blue  flowers.  Above  the  hedge 
stretched  outlined  Normandy  poplars  and  other  garden 
trees,  painted  in  flat  tones.  Only  a  few  peeps  of  blue  sky 
appeared  in  this  first  pair.    The  second  pair  of  wings  had 


CREATING  THE  STAGE  PICTURE      125 

more  color.  They  were  similar  to  the  front  pair  in  gen- 
eral design,  but  the  greens  were  brighter,  the  foliage  less 
dense.  An  additional  splurge  of  brilliant  color  was  fur- 
nished by  painting  several  tall  clumps  of  flowering  bushes 
high  above  the  level  of  the  hedges  which  bordered  these 
wings.  Behind  these,  and  extending  until  they  almost  met 
in  the  center  were  two  hedges,  along  the  base  of  which  were 
repeated  the  pink  and  blue  flowers  from  the  wood-wings. 
Exactly  behind  the  opening  in  the  center,  quite  close  to 
the  bottom  of  the  blue  drop,  was  set  a  low  profile  piece 
suggesting  the  summit  of  a  flight  of  steps  leading  down  to 
lower  terraces  of  this  formal  garden.  Four  terra  cotta 
urns  overrunning  with  flowers  carried  this  effect  further, 
but  it  was  finally  emphasized  by  silhouetted  trees  against 
the  blue  sky,  lower  than  those  in  the  foreground,  evidently 
rising  high  from  the  next  terrace  below.  Towards  the 
conclusion  of  the  play  sunset  changed  the  appearance,  and 
finally  moonlight  and  lantern  light  tinted  the  ending  pic- 
turesquely. 

A  few  years  later  in  The  Comedy  of  Errors  this  back- 
drop and  the  silhouette  trees  and  some  of  the  wood-wings 
were  requisitioned  again.  With  the  addition  of  a  wall  and 
gate,  and  the  ends  of  a  couple  of  houses,  the  open  place  in 
Ephesus  already  described  in  this  chapter  was  set. 

That  same  year  Twelfth  Night  was  staged  by  older  per- 
formers. Some  rocks  used  in  an  earlier  season  for  Ulysses 
by  Stephen  Phillips  served  for  the  first  scene.  A  group  of 
forest  trees — some  wings,  other  forms  for  other  places  about 
the  stage — were  used  for  the  Duke's  grounds.  Being  rather 
heavy  and  sober — they  were  built  first  for  the  forest  in 


126     PRODUCING  IN  LITTLE  THEATERS 

which  Sganarelle  does  so  little  work  in  Act  I  of  Le  Me- 
decin  Malgrc  Lui — they  bore  out  the  tone  of  the  Duke's 
sentimental  rhapsodies  and  Viola's  whimsical  sallies  on  un- 
requited love.  For  Olivia's  garden  the  scenery  first  pre- 
pared for  Love's  Labor's  Lost,  with  its  brightness  and  bal- 
ance made  an  adequate  setting.  Street  scenes  for  Malvo- 
lio's  return  of  the  ring  to  Viola,  and  scenes  between  An- 
tony and  Stephano  took  place  in  what  had  already  been 
an  "  open  place  in  Ephesus,"  in  The  Comedy  of  Errors. 
The  drinking  scene  setting  has  already  been  discussed. 

Except  when  demands  for  realism  ciu-b  originality,  de- 
signers of  sets  for  one-act  plays  have  a  wide  field  for  the 
exercise  of  individual  talents.  There  is  always  a  risk  in 
decorating  the  stage  in  a  novel  manner  if  the  audience 
must  gaze  upon  it  for  some  three  hours.  In  a  short  play, 
the  danger  of  fatigue  or  of  diverting  attention  is  not  so 
great,  for  the  picture  if  it  shock,  startle,  or  offend,  is  be- 
fore the  eyes  for  only  some  half  hour  or  less.  In  a  bill  of 
three  short  plays  one  of  them  should  be  so  different  as  to 
stand  out  boldly  in  contrast  with  the  other  two.  It  is  in 
this  securing  of  the  right  degree  and  kind  of  unusualness 
that  the  sympathetic  decorative  instincts  of  a  producer  or 
scene  designer  find  their  congenial  scope.  He  must  recall 
always  that  an  audience  is  an  entity  sensitive  to  sugges- 
tion, willing  to  follow  if  properly  led,  open-minded  to  good 
intentions  and  results,  but  suspicious  of  tricks,  hollowness, 
sham,  insincerity.  Beginning  controllers  of  amateur  groups 
will  endeavor  to  seize  the  temper  and  temperament  of  their 
anticipated  or  actual  public,  and  appreciating  it  at  its  real 
best — not  its  assumed  best,  strive  to  lead  it  to  an  accept- 


CREATING  THE  STAGE  PICTURE      127 

ance  and  approval  of  the  most  honest  exempHfication  of 
theatrical   art  embellishment. 

It  would  be  impossible  even  to  hint  at  the  possibilities 
of  originality  and  variety  in  providing  surroundings  for 
short  plays.  It  is  beyond  the  power  of  one  person  to  record 
the  achievements  of  the  past.  No  one  spectator  could  at- 
tend all  the  performances  in  which  new  effects  are  being 
attempted,  frequently  achieved.  If  he  could  read  every 
program  for  a  year,  study  every  photograph  taken,  ex- 
amine every  light  plot,  he  would  still  be  unable  to  de- 
scribe, much  less,  explain  and  criticize,  all  the  methods 
employed  and  the  impressions  registered.  A  comparative 
consideration  of  a  few  settings  as  actually  carried  out  may 
help  directors  who  want  to  try  new  methods  but  are  hesi- 
tant before  the  uncertainty  of  their  chances  which  hover 
between  a  possible  success  and  a  probable  waste  of  time, 
energy,  and  what  is  far  worse  for  amateurs,  money. 

It  will  be  instructive  to  look  at  a  few  descriptions  pre- 
pared by  dramatists,  then  see  how  their  specifications  have 
been  carried  out.  I  shall  cite  first  two  entirely  different 
kinds  of  plays. 

"  The  room  disclosed  to  view  is  an  attractively  fur- 
nished living-room  or  library.  Well-chosen  pictures  are 
on  the  walls,  good  books  are  about.  In  the  rear  wall  is 
the  heavily  curtained  wide  doorway.  At  the  right  is  a  wide 
window.  In  the  middle  of  the  wall  which  has  been  re- 
moved between  the  stage  and  the  audience  was  an  open 
fireplace.  The  andirons,  logs,  and  hearth  remain.  At  the 
left  of  the  fireplace  sits  the  Wife  gazing  into  the  red  glow. 
At  the  right  sits  the  Husband  reading  by  the  light  from 


128     PRODUCING  IN  LITTLE  THEATERS 

the  candle  in  an  artistic  holder  upon  a  small  table  at  sonie 
distance  from  his  left  shoulder.  Its  flame  is  hidden  from 
the  spectator's  eye  by  a  small  screen." 

Notice  that  this  setting  is  modern,  realistic.  It  is  such 
a  room  as  may  be  found  in  most  homes  of  refinement.  The 
description  is  fairly  definite.  It  is  true  that  no  particular 
color  scheme  is  specified,  but  there  is  really  no  need  for 
insistence  upon  such  a  detail.  That  can  certainly  be  left 
to  the  taste  of  the  producer.  The  next  paragraph  is  the 
description  by  the  director  of  the  Little  Theater  of  In- 
dianapolis of  the  setting  he  devised  for  this  play. 

"  Most  of  my  staging  was  done  with  lights,  of  course 
having  the  fireplace,  the  andirons,  fender,  etc.,  at  the  foot- 
lights, the  two  chairs  facing  it,  and  a  small  mahogany  table 
beside  the  Husband.  I  took  the  liberty  of  backing  the 
Wife's  chair  with  a  big  screen,  over  which  was  draped  a 
geranium-colored  silk  shawl,  which  was  the  one  spot  of 
color  in  the  scene.  It  formed  a  perfect  background.  The 
window  was  indicated  simply  by  a  flood  of  blue  light  from 
one  side.  The  whole  thing  was  concentrated  into  a  twelve 
foot  proscenium  which  served  to  localize  the  effect." 

The  following  is  another  illustration  of  the  same  kind 
of  original  interpretation,  applied  to  Pokey  by  Philip  Moel- 
ler. 

"  The  scene  is  in  the  neighborhood  of  the  unpronounce- 
able Werowocomoco  where  Powhatan  is  chief.  The  entire 
beautiful  legend  is  played  on  top  and  at  the  foot  of  a  tall 
cliff  on  a  plateau  overlooking  a  valley.  Far  away  spread 
the  plains,  and  in  the  distance  are  the  mountains  on  the 
horizon  beyond  Werowocomoco — if  there  are  any  mountains 


CREATING  THE  STAGE  PICTURE      129 

on  the  horizon  in  the  distance  beyond  Werowocomoco  .  .  . 
The  scene  should  be  wild  and  beautiful — beautiful  with  all 
the  wildness  of  an  unrestrained  and  savage  school.  It 
should  be  permeated  with  a  J.  Fenimore  Cooperish  au- 
tumnal atmosphere,  because — though  the  piece  is  played 
during  Spring  and  Summer — one  always  associates  Indians 
with  Autumn,  and  so  we'll  have  the  time  autumnal." 

One  production  of  this  carried  out  the  author's  spec- 
ifications in  quite  an  original  manner.  A  cyclorama  was 
hung  across  the  rear  and  at  the  sides  of  the  stage.  Upon 
this  was  cast  a  strong  yellow  light  which  never  varied  in 
intensity  throughout  the  two  scenes.  At  the  right  of  the 
stage  as  viewed  from  the  audience  was  a  cube  shaped  rock 
about  five  feet  high  upon  which  the  action  began  between 
Rolfe  and  Pocahontas.  This  rock  was  colored  a  brilliant 
dark  red.  Upon  the  two  sides  visible  to  the  spectators 
were  painted  large  green  flowers  shaped  like  daisies,  out- 
lined in  wide  black  lines.  Across  the  stage  near  the  rear 
extended  a  profile  line  of  low  red  boulders,  red  stumps  of 
trees,  and  large  flowers,  all  painted  red,  green,  and  black. 
From  the  rear  of  this  shelf  and  from  the  rear  of  the  table 
at  the  right  of  the  stage  there  was  supposed  to  be  a  sheer 
drop  of  hundreds  of  feet  down  the  vertical  cliff.  For  the 
second  scene  no  tent  was  erected,  as  described  in  the  printed 
play.  A  couple  of  tree  branches  were  stuck  up.  Between 
them  stretched  a  rope  from  which  dangled  a  red  flannel 
shirt  and  three  long  scalps. 

This  colorful,  rather  conventionalized  setting  was  en- 
tirely in  keeping  with  the  frivolous  burlesquing  intention 
of  the  play  itself. 


130     PRODUCING  IN  LITTLE  THEATERS 

Sometimes  a  clever  masking  of  the  space  above  by  some 
device  utilized  at  the  front  of  the  stage  will  save  a  great 
deal  of  otherwise  necessary  scenery.  For  some  plays  this 
can  be  erected,  for  others  not. 

In  a  performance  of  The  Rising  of  the  Moon  by  Lady 
Gregory,  I  saw  two  wooden  posts  standing  close  to  the 
curtain  line.  Resting  on  them  were  boards  rising  vertically 
as  though  to  meet  a  roof  above.  To  right  and  left  irregular 
piles  of  barrels  and  boxes  masked  the  side  spaces.  Further 
back  were  coils  of  ropes,  and  a  couple  of  anchors.  Some 
square  timbers  laid  parallel  with  the  footlights,  and  a  cou- 
ple of  round  posts  indicated  the  edge  of  the  wharf.  Around 
the  entire  set  hung  the  cyclorama  in  dark  blue  to  suggest 
night  sky.  The  effect  was  that  the  spectator  was  under 
such  a  shed  as  usually  covers  wharves,  and  was  looking 
beyond  that  shed  to  the  end  of  the  wharf  and  further 
across  the  water  to  the  dark  blue  sky.  Everything  except 
the  cyclorama — for  the  nautical  details  could  be  varied — 
could  be  borrowed  or  easily  built.  Except  the  cyclorama, 
there  was  no  scenery,  in  the  usual  sense  of  that  term. 

In  a  performance  of  Altruism,  by  Carl  Ettinger,  the 
quais  of  the  Seine  were  represented.  Hanging  from  above 
the  proscenium  opening  and  sloping  back  was  a  striped 
awning  above  the  tables  of  a  cafe  terrace.  Strips  of  this 
same  awning  at  the  right  and  left  completely  masked  the 
sides.  The  entrance  to  the  cafe  was  through  these  side 
curtains.  Towards  the  back,  as  though  across  the  street, 
a  slightly  raised  platform  was  the  pavement.  The  low 
parapet  extending  across  stage  was  the  stone  wall  beyond 
and  below  which  flowed  the  Seine.    A  few  profiles  of  build- 


Pliotograph   by   Kajiwara 


Above:     Pomander  Walk,  by  Louis  N.  Parker.     Cen- 
tral High   School,  Washington. 


Below:  Pierrot's  Clirist)nas,  by  Bessier  and  Monti. 
Designed  by  Lawrence  Ewald.  The  Artists'  Guild, 
Saint  Louis. 


IMiiitosjiapli    by    MrBride   Studio 


IT/i  II  III  II II  nil  II  itiirriilinniiii 

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.    — -^1 

Above:  Pniiiclla,  by  Laurence  Housman  and  Gran- 
ville Barker.  University  of  Washington,  Seattle. 
Designed  by  John  Ely. 


Below  :     Tlie  Chinese  Lantern,  by  Laurence  Housman. 
Central  High  School,  Saint  Louis. 


CREATING  THE  STAGE  PICTURE      131 

ings  on  the  opposite  side  of  the  river  were  backed  by  the 
blue  cyclorama.  The  whole  stage  was  bathed  in  the  bril- 
liant yellow  of  the  Parisian  afternoon  sun.  The  general 
effect  was  perfect,  yet  the  contributing  elements  were 
simple. 

Exactly  this  same  kind  of  pictorial  effect  was  secured 
in  a  production  of  The  Tents  of  the  Arabs,  by  Lord  Dun- 
sany.  The  stage  setting  for  this  well-known  short  play  re- 
quires a  gate  beyond  which  lies  the  desert  into  which  the 
tired  king  goes  with  the  wild  child  of  its  distances.  I  have 
seen  a  half  dozen  different  conceptions  of  this,  but  only 
one  which  in  any  way  made  emphatic  the  contrast  between 
the  city  and  the  level  sands.  Half  way  back  from  the 
footlights  the  city  wall  was  erected,  in  the  middle  of  which 
was  the  gate  leading  the  gaze  beyond  it  across  the  track- 
less expanse  to  the  blue  depths  of  the  cyclorama.  Just  be- 
hind the  proscenium  arch  a  few  brilliant  strips  of  oriental 
cloths  were  fastened.  Their  other  ends  were  fastened  to 
the  top  of  the  city  wall.  Sweeping  in  graceful  curves  from 
front  to  rear  they  made  a  grateful  shade  in  which  passers- 
by  naturally  paused  to  chat  before  stepping  out  into  the 
merciless  heat  of  the  unshaded  sands.  The  correspond- 
ing dimming  of  light  on  the  forestage  also  marked  the 
heightening  of  the  yellow  glare  beyond  the  archway  of  the 
wide  gate.  In  this  arrangement,  as  in  the  previously  de- 
scribed ones,  there  was  actually  only  a  little  scenery,  in 
the  strict  sense,  required  to  set  the  stage.  The  wall  was 
the  only  constructed  part.  A  couple  of  low  platforms 
served  as  steps  to  take  persons  over  its  sill.  For  the  im- 
pression made,  this  setting  was  extremely  economical. 


132      PRODUCING  IN  LITTLE  THEATERS 

It  would  probably  be  a  mistake  to  utilize  this  device  too 
frequently,  but  it  will  save  money  and  trouble  in  many 
cases.  Somewhat  like  it  is  another  forestage  treatment 
serving  somewhat  the  same  purpose. 

In  the  second  scene  of  The  King  and  Queen,  by  Tagore, 
the  courtyard  of  a  palace  was  shown.  Most  of  the  stage 
was  bathed  in  brilliant  yellow  light  upon  cream-colored 
walls.  The  dazzling  effect  of  this  was  enhanced  by  having 
no  footlights;  in  fact  there  were  no  lights  from  the  front. 
Just  behind  the  curtain  line  was  hung  a  silhouette  of  three 
oriental  archways,  so  that  spectators  in  the  auditorium  felt 
that  they  were  in  a  darkened  alcove,  peering  out  into  the 
broad  sunlight  where  the  story  was  being  enacted.  A 
slightly  mysterious  effect  was  added  by  having  the  open 
archways  covered  with  gauze  which  mellowed  the  light 
without  detracting  from  its  brilliance.  The  solid  portion 
of  the  wall  above  the  arches  masked  nearly  all  of  the  space 
above  and  behind  them.  Only  a  few  usual  wood- wings 
were  required  to  suggest  the  garden  at  both  sides.  By 
keeping  this  foliage  well  off-stage  attention  was  kept  from 
it  and  centered  upon  the  characters.  In  this  stage  setting 
as  in  others  already  discussed  there  was  secured  a  maxi- 
mum of  effect  at  a  minimum  of  expense  and  effort. 

A  few  other  uses  of  draperies  in  connection  with  regular 
scenery  may  contain  hints  for  adoptions  in  similar  instances. 
One  of  the  Diminutive  Dramas  by  Maurice  Baring,  The 
Aulis  Difficulty,  calls  simply  for  "  Agamemnon's  Tent  at 
Aulis."  On  one  stage  a  back-drop  and  wings  of  a  forest 
were  set,  then  there  was  caught  up  in  the  middle  a  great 
square   of  brightly   colored   stuff  which,   raised   to   some 


CREATING  THE  STAGE  PICTURE      133 

twenty  feet  above  stage,  could  be  draped  back  in  realistic 
representation  of  a  Greek  warrior's  tent.  Had  there  been 
no  back-drop  of  forest  trees,  the  tent  could  easily  have  been 
drawn  to  the  sides  until  no  back-drop  would  have  been 
necessary,  or  the  regular  standby  of  the  blue  cyclorama 
would  have  answered  the  requirement. 

In  interiors  of  whimsical  or  fanciful  decorations,  drap- 
eries will  often  take  the  place  of  the  usual  flat  ceilings  or 
of  the  inexcusable  painted  borders.  In  an  amateur  revue 
I  saw  the  entire  stage  draped  beautifully  for  a  dance  num- 
ber by  using  a  single  large  cloth  of  black  and  white  squares. 
It  had  been  fastened  to  the  usual  drop  lines,  three  across 
the  front  far  enough  from  the  edge  of  the  material  to  allow 
a  border  just  behind  the  top  of  the  proscenium  opening, 
then  along  a  line  which  let  enough  hang  in  irregular  folds 
to  reach  the  stage  at  the  rear.  In  this  pavilion-like  space 
a  brightly-costumed  group  performed  an  unusual  dance. 

The  same  scheme  can  be  used  in  a  room  for  certain  kinds 
of  plays.  In  Whims,  the  title  under  which  the  Washing- 
ton Square  Players  acted  Caprice,  by  Alfred  de  Musset,  the 
walls  were  covered  with  pleated  blue  silk,  while  the  ceiling 
was  a  dome  of  the  same  material  caught  up  into  a  rosette 
in  the  center.  With  the  French  costumes  of  a  century  ago, 
the  effect  was  charming. 

Exactly  the  same  thing  was  done  by  Winthrop  Ames  in 
his  production  a  few  seasons  ago  of  Pierrot  the  Prodigal. 
In  the  second  act  Phrynette's  boudoir  in  Paris  was  taste- 
fully decorated  in  filmy  chiffon,  with  a  tent  ceiling  drawn 
up  into  a  center  rosette. 

The  ideas  here  suggested  can  be  carried  out  with  a  sav- 


134     PRODUCING  IN  LITTLE  THEATERS 

ing  of  money  but  they  entail  extreme  care  in  designing,  per- 
fect skill  in  coloring,  and  exquisite  taste  in  execution. 
There  is  the  nicest  line  in  stage  matters  between  simplicity 
and  skimpiness,  between  art  and  decoration,  between  color 
and  gaudiness,  between  richness  and  show.  To  overstep 
the  allowable  limit  and  pass  into  the  cheap  imitation  spells 
failure  in  the  amateur  realm.  Endless  experiment,  pains- 
taking consideration,  ceaseless  adapting,  ingenious  inno- 
vations, form  the  experience  and  develop  the  knowledge 
from  which  come  later  the  surest  successes,  even  when 
they  are  the  most  audacious. 


CHAPTER  VIII 
COSTUMES  AND  MAKE-UP 

In  discussing  the  need  for  economy  which  nearly  every 
little  theater  administration  must  exercise  it  was  stated  that 
by  avoiding  all  costume  plays  during  an  entire  season  the 
expenditure  of  a  great  deal  of  money  should  be  avoided. 
One  director  has  written  me  that  he  uses  no  costume  plays. 
So  the  practice  must  be  feasible,  and  acceptable  to  some 
audiences.  The  main  objection  which  may  be  urged  against 
such  a  restriction  is  that  an  entire  season  of  plays  with- 
out some  inclusion  of  beauty,  color,  picturesqueness,  local 
color,  romance,  the  historic  past,  or  the  distant  present,  must 
become  decidedly  monotonous  to  the  eye.  How  monoton- 
ously familiar  all  the  actors  must  get  to  look  to  the  regular 
patrons!  Not  many  groups  are  so  consistently  exclusive 
of  one  of  the  most  fascinating  theater  arts — the  appeal  by 
means  of  costume. 

As  a  matter  of  fact  no  avoidance  of  any  kind  of  play 
will  eliminate  totally  the  need  for  some  costumes,  for  no 
selection  can  be  made  in  which  all  the  performers  can  sim- 
ply walk  on  in  their  ordinary  wearing  apparel.  More  parts 
have  to  be  dressed  than  the  opposite.  By  adhering  to  mod- 
ern dramas  it  is  quite  possible  to  get  costumes  by  borrow- 
ing, or  making,  or  concocting,  or  combining  them  from 
personal  effects.  A  farmer  needs  as  appropriate  a  costume 
as  a  Spanish  matador.     Only  the  former's  garb  can  be 

135 


136     PRODUCING  IN  LITTLE  THEATERS 

foraged  for,  while  the  latter's  would  have  to  be  hired.  There 
is  so  charming  an  effect  from  beautiful  costumes  that  I 
believe  no  director  will  voluntarily  cut  himself  off  from 
their  reasonable  use. 

Costumes  upon  a  stage  are  regarded  in  a  different  man- 
ner from  any  others.  First  of  all  their  wearers  are  set  at 
a  distance  from  the  spectators,  they  are  marked  off  within 
a  definite  space,  they  are  described  as  being  "  in  the  pic- 
ture." The  frame  indicates  the  demarkation  between  them 
and  the  beholders.  Only  in  conventionally  conceived  exer- 
cises or  frankly  artificial  and  romantic  forms  of  drama 
should  that  demarkation  be  eradicated.  The  stage  is  the 
stage  because  it  is  not  the  audience.  The  latter  can  be 
made  to  share  in  all  the  stage  carries  by  the  transfer  of 
emotional  appeal  or  intellectual  stimulation.  Costumed 
figures  are  raised  upon  the  platform  above  the  usual  line  of 
vision.  This  at  times  determines  the  cut  of  a  gown.  For 
instance,  a  short  skirt  always  appears  shorter  when  viewed 
from  the  house.  Secondly ,  the  costumes  are  displayed 
under  an  intensified,  and  usually  colored  light.  This  will 
determine  choice  of  colors.  In  his  Essays  published  first 
in  1597,  practical  Francis  Bacon  commented  upon  such 
details  in  the  producing  of  Masques.  "  The  colors  that 
show  best  by  candle-light  are  white,  carnation,  and  a  kind 
of  sea-water  green.  ...  As  for  rich  embroidery,  it  is  lost 
and  not  discerned,"  Tests  made  of  colors  under  daylight 
and  white  electric  light  will  not  lead  to  satisfactory  results 
upon  the  stage  itself.  Failure  to  secure  the  proper  shades 
and  combinations  in  bought  material  has  induced  most  cos- 


COSTUMES  AND  MAKE-UP  137 

tume  workers  of  keen  artistic  sense  to  dye  their  own  stuffs 
for  every  production. 

Modern  costumes  for  women  alone  admit  of  picturesque 
and  colorful  accentuation.  The  effect  of  the  gown  of  an 
actress  upon  an  audience  cannot  always  be  justly  estimated 
in  advance,  but  it  can  be  considered  carefully.  Personal 
preference  may  have  to  be  corrected  by  general  impression. 
In  not  every  play  can  every  woman  in  the  cast  be  allowed 
to  look  her  best.  There  must  be  no  clashes  of  colors  or 
modes.  There  must  be  no  effects  to  neutralize  or  kill 
others.  When  elements  of  the  charm  of  the  stage  picture 
need  not  be  considered  there  must  be  an  appropriateness 
of  garb  to  characterization.  This  emphasis  of  the  inward 
spiritual  nature  by  the  outward  and  visible  sign  cannot  al- 
ways be  left  to  the  taste  of  the  individual  actress.  Too 
many  of  them — in  amateur  circles,  at  least — look  upon 
acting  as  an  opportunity  to  "  dress  up."  The  best  looking, 
the  newest,  the  most  fashionable  gowns  are  offered  at  dress 
rehearsal  for  praise.  It  is  difficult  to  make  some  histrionic 
aspirants  realize  that  the  best  acting  may  be  done  in  drab, 
unattractive  garments.  Absence  of  color  and  fit  and  style 
may  be  more  needed  than  their  prominence.  Detail  of 
paraphernalia  may  add  to  the  characterization  but  spoil 
some  other  aspect  of  the  presentation.  One  actress  in  a 
smart  English  comedy  carried  a  chatelaine  which  suited  the 
role  perfectly,  only  it  jangled  so  loudly  at  the  slightest 
movement  that  it  drowned  most  of  her  short  speeches. 
Overdressing  a  part  may  be  as  vexatious  as  wrong  dressing. 

For  humor  the  underlying  principles  of  costume  design 


138     PRODUCING  IN  LITTLE  THEATERS 

should  be  contrast,  incongruity,  exaggeration,  increasing  in 
degree  directly  as  the  material  of  the  play  recedes  from 
realism  and  contemporaneousness. 

In  real  life  the  dictum  is  oft  repeated  that  "  it's  not  the 
clothes  which  make  the  difference  but  the  manner  in  which 
they  are  worn."  This  is  more  patently  true  on  the  stage. 
Some  performers  are  physically  and  temperamentally  unable 
to  wear  costumes  of  certain  kinds  properly.  An  actress, 
trained  in  poetic,  romantic,  and  character  roles  may  never  be 
able  to  look  right  in  ordinary  dress.  The  tragedy  queen 
may  try  to  wear  modern  sport  clothes  in  the  same  manner, 
with  fatal  results  for  the  effect  of  a  role.  The  hoyden  may 
show  through  an  evening  creation. 

Nearly  all  these  considerations  apply  with  equal  force 
to  men.  To  many  a  suit  for  stage  wear  is  something  which 
"  doesn't  belong."  They  seem  to  have  no  knack  of  throw- 
ing themselves  into  their  clothes.  They  seem  always  to 
have  had  the  clothes  on  only  for  the  last  ten  minutes,  in- 
stead of  having  worn  them  regularly.  Evening  clothes  are 
extremely  dangerous.  On  the  stage  men  should  be  at  per- 
fect ease  in  them.  Too  frequently  they  show  exactly  how 
uncomfortable  they  actually  are.  Even  when  they  act  as 
butlers  and  waiters  they  miss  the  carelessness  which  comes 
from  continuous  livery,  and  instead  of  forgetting  that  such 
suits  are  working  clothes,  they  are  as  careful  of  them  as 
though  they  were  masters  and  guests  instead  of  servants. 
Incidentally  seldom  are  the  suits  of  butlers  and  waiters  on 
the  stage  slovenly,  ill-fitting,  and  spotted  enough. 

As  Bacon  truthfully  said,  certain  meticulous  details  are 
lost  by  the  distance  between  the  characters  and  the  spec- 


COSTUMES  AND  MAKE-UP  139 

tators.  In  military  costumes  not  many  of  the  audience  will 
notice  either  the  presence  or  absence  of  such  things  as  tips 
on  the  patent  leathers  of  a  British  officer.  But  they  will 
notice  if  an  American  laboring  man  in  rough  shirt  and 
overalls  wears  well-shaped  and  straight  heeled  shoes.  Most 
inconsistencies  crop  out  in  character  parts.  The  farmer 
buys  blue  jeans  from  the  dry-goods  store,  thfen  wears  them 
with  all  the  shelf  creases  in  them  for  the  first  time  at  the 
dress  rehearsal.  He  had  better  hang  them  out  in  the  rain, 
kick  them  about  the  cellar,  and  dust  the  back  porch  off  with 
them,  then  shake  them  out  and  put  them  on  for  the  play. 

Just  as  amateurs  are  likely  to  neglect  the  mounting  of 
a  realistic  drama,  so  they  are  likely  to  be  careless  about 
costuming  it;  yet  there  is  as  much  chance  for  artistic  en- 
deavor in  the  every-day  as  in  the  distant;  and  there  are 
many  more  dangers  of  serious  faults — serious  because  so 
painfully  apparent  to  the  critical  audience.  Yet  art  di- 
rectors will  continue  to  revel  in  the  costume  play. 

The  best  single,  comment  made  by  any  dramatist  about 
costumes  (in  the  ordinary  sense  of  that  word)  for  one  of 
his  poetic  romances  was  set  down  by  Rostand  as  a  direction 
for  designers  who  work  with  Les  Romanesques ;  "  The  cos- 
tumes may  be  anything,  provided  they  are  beautiful."  In 
modern  plays  the  characters  themselves  may  help  more  or 
less  in  providing  their  own  costumes.  In  fanciful,  his- 
torical, romantic,  plays  there  should  be  one  directing  and 
designing  head  to  produce  harmony,  balance,  gracefulness, 
and  beauty. 

There  is  always  danger  in  hiring  costumes  from  a  pro- 
fessional costumer  by  merely  sending  a  list  of  characters 


140     PRODUCING  IN  LITTLE  THEATERS 

and  sizes.  Even  though  his  stock  be  large,  it  may  be  en- 
gaged in  advance  by  other  demands,  and  the  presence  of 
two  or  three  incongruous  dresses  or  suits  in  an  otherwise 
harmonious  combination  will  spoil  the  effect.  The  risk  is 
lessened  if  the  members  of  the  costume  committee  can 
examine  the  stock,  select  exactly  what  will  serve,  and  then 
can  insist  that  the  chosen  articles  be  the  ones  delivered. 
Ordering  from  a  distance  multiplies  risk  a  hundredfold.  No 
time  remains  for  changes  between  dress  rehearsal  and  per- 
formances. For  this  reason  the  plan  of  having  dress  re- 
hearsals earlier  than  the  day.  of  the  performance  is  urged 
in  this  book.  If  you  have  ever  worked  with  a  large  cast 
you  know  how  many  shoes  will  not  fit,  how  many  pairs  of 
stockings  have  not  arrived,  how  many  belts  have  no  buckles, 
how  many  doublets  no  hooks  and  eyes. 

The  best  stocked  costumer  is  certain  to  have  a  better 
array  for  certain  periods  than  others.  Since  our  greatest 
dramatic  period  is  Elizabethan,  he  will  be  more  than  likely 
to  be  able  to  costume  a  Shakespeare  comedy  adequately. 
In  the  history  plays  he  may  not  be  so  fortunate.  When  a 
director,  working  with  Moliere's  plays,  tries  to  find  suitable 
costumes  at  the  professional's  he  is  likely  to  be  disappointed. 
The  1 660- 1 700  period  is  so  little  represented  in  our  dramas 
and  upon  our  stages  that  costumes  little  in  request  are 
made  up  in  restricted  variety  and  small  numbers.  In 
France,  the  exact  opposite  is  the  case. 

Among  theatrical  conventions  the  dressing  of  Shakes- 
pearean roles  has  become  almost  a  fixed  one.  Granville 
Barker  upset  this  convention  in  two  of  his  productions. 
The  Lyric  Theater  Company,  of  Hammersmith,  costumed 


COSTUMES  AND  MAKE-UP  141 

As  You  Like  It  in  early  fifteenth  century  style,  had  all  the 
material  specially  dyed  and  made  up,  substituted  single 
brilliant  colors  for  the  usual  elaborate  ornamentation,  and 
made  an  artistic  success  even  if  they  did  startle  the  patrons 
of  the  Memorial  Theater  at  Stratford-on-Avon.  As  a  mat- 
ter of  fact,  this  play  allows  the  widest  variety  of  individual 
conceptions  for  its  beautiful  appearance. 

What  shall  be  done  about  Macbeth?  At  no  time  has 
any  American  production  emphasized  so  strongly  by  dress 
the  Scottish  element  of  the  tragedy  as  the  New  Shakespeare 
Company's  production  at  Stratford-on-Avon  which  I  saw 
in  1920.  In  essence,  this  style  of  garb  is  quite  appropriate, 
for  the  story  is  Scotch.  Additional  recognition  is  given  this 
by  the  announcement  that  one  group  of  Celtic  Players  in 
the  United  States  intends  to  produce  it  as  part  of  their 
theatric  propaganda. 

When  Shakespeare  placed  his  scenes  in  Renaissance  Italy 
he  made  the  costuming  easy.  But  when  he  wrote  The 
Comedy  of  Errors  and  Twelfth  Night  he  left  problems  for 
the  modern  designer  or  choosers  of  costumes.  How  Greek 
should  be  the  investiture  of  the  former?  Many  producers 
compromise  by  a  conventionalized  Italo-Greco  style  which 
is  in  no  sense  historical,  though  it  may  be  picturesque. 
Twelfth  Night  is  more  difficult  because  more  familiar  and 
more  often  produced.  How  can  Ilyrian  styles  be  suggested? 
Again  our  dependence  on  Renaissance  Italy  is  apparent  in 
the  usual  stage  pictures,  with,  however,  a  recognition  of 
strangeness  in  the  garments  of  Viola  and  Sebastian.  A 
bolero  jacket,  a  turban,  a  short  pleated  skirt,  knee-high  leg- 
gings, are  the  usual  marks  of  these  two  characters. 


142      PRODUCING  IN  LITTLE  THEATERS 

Many  a  modern  designer  feels  tempted  to  discard  all  such 
conventions  and,  using  only  the  play  and  his  own  ideas,  to 
evolve  a  novel,  picturesque  result  by  absolutely  untried 
means.  In  this  opinion  is  the  basis  of  the  newer  stylistic, 
decorative  methods  of  costuming  Shakespeare. 

Mere  originality  should  be  corrected  by  supervision  or 
knowledge  or  common  sense.  A  recent  well  patronized  pro- 
duction of  Hamlet  gave  most  of  its  spectators  the  shock  of 
their  lives  when  Ophelia  appeared  in  the  flower  and  mad 
scenes.  Immemorially  the  actress  during  this  act  has  worn 
white.  This  color  has  a  real  dramatic  value  at  this  part 
of  the  action,  because  it  emphasizes  her  youth,  her  unhappy 
love,  and  her  sad  ending.  Yet  in  this  production  the  star 
appeared  in  a  long,  plain,  green  gown,  which  looked  like 
nothing  so  much  as  a  child's  long  nightgown  which  per- 
sisted in  getting  under  her  feet.  I  do  not  know  what  ex- 
planation was  ever  given  for  such  a  choice  of  color.  Per- 
haps it  might  have  been  urged  that  green  fitted  better  into 
the  general  color  scheme.  It  would  have  been  better  to 
admit  the  apparent  truth.  The  actress  was  too  large  and 
plump  to  look  like  afflicted  Ophelia.  As  size  is  accentuated 
by  white,  this  more  subdued,  but  entirely  inappropriate 
shade  was  used.  I  have  seen  performances  of  Julius  Ccesar 
in  which — since  the  major  part  of  the  company's  repertory 
was  Italian  comedy  and  English  history — the  actresses  wore 
Renaissance  gowns,  entirel}'  out  of  keeping  with  Roman 
togas  and  short  broad  swords.  In  spite  of  Shakespeare's 
direct  evidence  to  the  fact  that  in  Twelfth  Night,  Maria 
must  be  dressed  so  much  like  Olivia  that  Viola  seeing  them 
together  cannot  pick  the  "  lady  of  the  house,"  I  have  seen 


COSTUMES  AND  MAKE-UP  143 

Maria  garbed  almost  like  a  maid-servant.  In  fact,  in  one 
production,  the  first  scene  in  which  Maria  appears  was  set 
near  the  kitchen,  and  she  was  engaged  in  rolling  out  dough, 
from  which  she  later  sportively  puffed  the  flour  into  Sir 
Andrew  Aguecheek's  face! 

All  the  foregoing  instances  are  from  professional  produc- 
tions which  fact  makes  them  all  the  more  disturbing,  as 
they  may  have  served  as  wrong  models  to  students,  per- 
formers, and  directors  of  Shakespeare's  plays. 

Amateurs,  with  all  their  intended  care  for  details,  allow 
unbelievable  defects  to  persist.  In  The  Playboy  of  the 
Western  World  I  do  not  believe  that  Christy  should  dress 
for  the  donkey  race  in  a  brilliant  silk  striped  jockey  suit. 
True,  Synge  writes  a  line  which  may  be  so  interpreted.  I 
did  not  see  the  Abbey  Players  present  this  in  America,  so 
I  cannot  quote  them  as  authority.  But  I  don't  believe  that 
in  the  district  suggested  by  that  play  there  would  be  a 
professional  jockey's  suit  for  a  stranger.  Puttees  might  be 
borrowed,  and  perhaps  a  different  shirt.  The  adoring  girls 
might  decorate  it  with  nosegays  and  ribbons.  But  I  believe 
the  character  should  remain  in  the  picture  of  Ireland,  and 
not  look  like  the  hero  of  The  Kentucky  Derby.  In  a  play 
from  the  Hungarian,  a  crowd  of  neighbors  rush  into  a  house 
after  an  early  morning  tragedy.  The  director  probably  told 
the  performers  to  go  to  the  local  costumer's  to  get  some 
Hungarian  costumes.  They  did.  Aroused  from  their  beds, 
they  rushed  to  their  neighbor's  home,  and  stood  in  the 
increasing  light  of  early  morning,  dressed  in  brilliant  colors, 
brightly  embroidered  shawls  and  headdresses,  looking  like 
figures  from  a  music  box  or  members  of  a  musical  comedy 


144     PRODUCING  IN  LITTLE  THEATERS 

chorus.  They  should  have  donned  old  petticoats,  and 
wrapped  dark  shawls  around  their  shoulders  and  heads;  the 
men  should  have  worn  half-laced  boots,  or  slippers,  shirts 
should  have  hung  out  and  flapped  open,  hair  should  have 
been  unkempt.  There  was  no  fitness  in  a  single  suit  or 
dress. 

Photographs  of  an  all-girl  cast  in  Twelfth  Night  show 
Maria  dressed  correctly  enough  so  far  as  her  gown  is  con- 
cerned but  beneath  her  skirt  show  modern  heavy  high  walk- 
ing boots.  In  the  same  cast  Sir  Andrew  Aguecheek  wears 
a  well-made,  perfectly  fitting  suit,  but  his  (her)  feet  are 
encased  in  a  modern  pair  of  girl's  pumps.  Both  Viola  and 
Sebastian  are  dressed  too  effeminately  to  be  acceptable  to 
the  audience.  All  the  other  characters  are  well  groomed, 
except  that  the  girls'  hair  has  made  their  heads  so  large 
that  the  plumed  hats  do  not  sit  upon  them  properly  or 
safely. 

Besides  the  picturesqueness  of  the  past  a  director  may 
include  the  color  of  the  distant.  Every  land  has  its  national 
garb  which  has  found  its  place  in  drama.  Japanese  and 
Chinese  plays  seemed  to  have  disappeared  from  both  pro- 
fessional and  amateur  stages.  Just  now  they  are  back 
again.  The  Mikado  is  delighting  thousands  and  The  Lady 
of  the  Lamp  carried  on  the  influence  spread  by  The 
Willow  Tree,  The  Son  Daughter,  and  East  Is  West. 
Amateurs  have  always  liked  the  settings  and  costumes  of 
the  flowery  kingdoms,  but  the  phenomenal  impressiveness 
of  Bushido  under  all  its  titles — Matsuo  and  The  Pine  Tree 
— has  emboldened  them  to  give  rein  to  that  enthusiasm. 

Looking  in  the  other  direction  we  can  cite  long  lists  of 


COSTUMES  AND  MAKE-UP  145 

plays  influencing  a  different  oriental  style  of  costuming. 
It  is  not  easy  to  ascribe  definite  beginnings  for  such  intro- 
ductions or  repetitions,  but  I  believe  this  phase  of  costum- 
ing came  to  us  first  in  Sumurum.  The  more  gorgeously 
spectacular  Chu  Chin  Chow,  Aphrodite,  Mecca,  and  Afgar 
have  continued  it.  Amateurs  swayed  by  all  the  glorious 
sensuousness  of  such  color  have  expressed  it  in  the  always- 
popular  fantasies  and  romances  of  Lord  Dunsany. 

For  a  long  time  Greek  plays  were  garbed  more  or  less 
alike.  If  color  were  used  it  was  likely  to  be  some  pale  or 
pastel  shade;  but  white  was  almost  general,  at  least  for 
women's  draperies.  Then  there  seemed  to  be  a  sudden 
change  from  the  subdued  and  the  quiet  to  the  loud  and 
the  garish.  Old  Greek  stories  were  treated  in  a  fairly 
irreverent  manner  for  comic  effect,  partly,  I  should  say,  by 
imitation  of  French  methods.  Then  the  great  classic 
tragedies  were  approached,  not  from  the  viewpoint  of  lit- 
erary masterpieces  above  all  human  interest,  but  as  dramas 
written  to  be  acted  and  embodying  stories  of  human  rela- 
tions. Independent  producers  in  America,  in  England,  in 
Central  Europe,  revolutionized  completely  the  method  of 
producing  Greek  material,  Hoffmanstal  rewrote  the  Electra, 
Strauss  set  it  to  music,  and  Reinhardt  applied  "  circus  " 
methods  to  its  staging.  Ample  space  and  large  audiences  in 
the  open-air  stadiums  and  theaters  called  for  stronger  treat- 
ment than  had  been  dared,  and  the  amazing  discovery  was 
made  that  classic  tragedy  need  not  appeal  only  to  anti- 
quarian scholars.  Like  all  good  drama  it  can  be  made  uni- 
versally appealing. 

Related  as  closely  to  costuming  as  costuming  is  related 


146     PRODUCING  IN  LITTLE  THEATERS 

to  characterization  is  make-up.  Like  costuming  it  depends 
in  its  nature  almost  entirely  upon  lighting.  Change  the 
lighting  of  a  scene  and  every  make-up  on  stage  will  appear 
different.  When  amber  replaced  white  light  on  the  pro- 
fessional stage  actors  had  to  learn  to  apply  and  combine 
colors  differently  to  secure  the  same  effects  as  before.  The 
varying  intensity  of  light  in  different  theaters  will  empha- 
size or  kill  certain  kinds  of  make-up.  The  dazzling  bright- 
ness of  the  large  commercial  stage  will  not  serve  as  a  test 
of  facial  change  upon  the  smaller  stage  of  the  intimate 
theater.  Distance  between  actor  and  spectator  is  so  re- 
duced in  little  theaters  that  make-up  must  be  laid  on  with 
a  sparing  and  delicate  hand.  Even  in  intelligent  commer- 
cial productions  there  is  a  great  deal  less  make-up  now 
than  there  was  formerly.  Moderation  of  effect  in  acting 
has  induced  moderation  in  character  advertising — as  the 
change  of  features  might  be  designated.  Just  as  the  villain 
no  longer  always  wears  patent  leather  shoes  and  flicks  his 
cigarette  ashes  about  the  carpet,  so  no  longer  does  he  have 
to  display  a  silky  black  mustache  and  a  shifty  eye.  Add 
to  all  these  reasons  for  change  the  fact  that  little  theater 
audiences  are  "  in  the  know  "  and  it  becomes  apparent  that 
more  refined  and  successful  results  are  demanded  of 
make-up. 

The  essential  principles  and  rudimentary  effects  are  so 
simple  that  a  beholder  wonders  at  many  of  the  faces  he 
sees.  In  spite  of  the  opportunity  to  observe  good,  bad, 
and  indifferent  facial  decorations  on  the  street,  in  the  cars, 
and  across  dinner-tables,  many  amateur  actresses  make 
glaring  blunders  when  they  appear  at  dress  rehearsal.    Red 


COSTUMES  AND  MAKE-UP  147 

— because  they  consider  it  the  prime  beautifier — is  used  too 
lavishly.  It  mounts  too  high,  or  spreads  too  low.  Or  it  is 
not  blended  properly,  so  that  it  looks  no  more  like  "  beauty 
truly  blent,  whose  red  and  white  Nature's  own  sweet  and 
cunning  hand  laid  on  "  than  are  the  perfect  circles  painted 
on  doll's  faces  like  the  glow  of  healthy  children.  Discus- 
sions of  exactly  how  to  secure  effects  in  make-up  do  not 
fall  within  the  scope  of  this  book,  but  comment  on  some 
of  the  crudities  does.  Many  an  actress  acting  on  habitual 
practice  "  powders  her  nose "  just  before  she  enters  the 
scene,  with  the  disconcerting  result  that  the  intensified 
brightness  strikes  the  high  light  on  her  nose  making  it 
appear  like  nothing  in  the  world  so  much  as  a  piece  of 
white  dough  or  putty.  Her  chin  may  show  the  same  ghastly 
prominence.  Then  there  are  others,  perhaps  they  are  the 
same,  who  spread  red  over  the  entire  lip.  Few  mouths  can 
stand  this  heavy  outlining  across  their  full  width,  and  then 
appear  small  and  winning  in  speech.  The  misuse  of  black 
is  almost  as  frequent.  Eyes  are  made  to  appear  like  burnt 
holes  in  sheets.  I  wonder  if  in  a  little  theater  it  is  ever 
necessary,  except  for  character  parts,  to  put  melted  cos- 
metic on  the  eye-lashes,  making  each  hair  like  a  ball  tipped 
spoke,  or  to  color  the  entire  upper  lid  dark  blue  so  that 
every  time  it  is  lowered  it  looks  diseased. 

In  earlier  times  make-up  hardened  into  set  forms  for 
regularly  recognized  types  of  play  characters.  Heavy 
accents  were  placed  upon  every  trait  to  convey  a  classi- 
fication to  an  audience.  There  are  still  reminiscences  of 
this  indicated  by  photographs  of  some  little  theater  produc- 
tions, in  the  Britisher  with   the  long  mustache  and  the 


148     PRODUCING  IN  LITTLE  THEATERS 

Frenchman  with  the  goatee.  Modern  producers  have  passed 
from  such  crude  labels.  Today  in  the  appearance  of  an 
actor,  the  keynote  is  characterization,  not  type;  personality, 
not  the  part.  The  worst  violation  of  such  a  consideration 
which  I  have  ever  seen  was  the  first  entrance  of  Christy  in 
The  Playboy  of  the  Western  World.  Synge  describes  him 
as  "  very  tired  and  frightened  and  dirty,"  but  this  actor 
appeared  with  a  beautiful  and  fresh  juvenile  make-up.  He 
was  the  leading  man,  and  he  refused  point-blank  to  appear 
with  any  other  face.  Naturally  this  killed  any  chance  for 
the  exaggeration  in  the  play  of  the  power  of  his  deed  to 
arouse  the  admiration  of  the  people.  His  good  looks  would 
have  done  that  at  the  first  glance.  The  wrong  make-up 
spoiled  both  the  part  and  the  characterization. 

To  secure  models  for  imitation  the  best  method  is  to  ob- 
serve carefully  all  the  faces  you  see  about  you.  Physiog- 
nomy is  not  an  exact  science,  so  definite  features  do  not 
in  reality  indicate  disposition  and  character.  But  we 
have  come  to  associate  certain  physical  traits  with  men- 
tal or  temperamental  characteristics,  and  a  recognition 
of  this — not  a  slavish  adherence  to  it — is  usually  a  help  in 
acting.  It  is  impossible  to  delineate  much  of  a  person's 
character  by  means  of  his  features;  it  is  best  to  have 
make-up  reinforce  the  physical  attributes,  merely  suggest- 
ing probable  disposition,  then  depend  upon  the  acting  for 
the  projection  of  the  person's  real  character. 

Naturally  men  need  and  use  make-up  on  the  stage  less 
frequently  and  less  consistently  than  women.  Unless  the 
role  requires  a  radical  change  in  age  or  appearance  a  man 
may  be  able  by  his  stage  business  and  acting  to  simulate 


COSTUMES  AND  MAKE-UP  149 

the  difference.  If  his  features  are  pliable  and  his  powers 
of  facial  control  well  developed  he  may  succeed  to  a  sur- 
prising degree.  The  one  detail  over  which  he  can  never 
exercise  modifying  control  to  a  large  extent  is  the  hair  on 
his  head  and  face.  If  a  character  in  a  play  has  to  be 
whiskered  he  must  either  start  months  in  advance  to  grow 
the  hirsute  appendage — a  proof  of  devotion  to  art  which  no 
amateur  working  every  day  could  attempt — or  he  must  stick 
the  bushy  mass  on  with  spirit  gum.  Beards  and  mus- 
taches are  not  very  difficult  to  make  look  real  if  they  are 
properly  blended.  Notice  the  hair  upon  any  man's  face 
and  you  will  see  plainly  how  it  varies  in  color  and  thick- 
ness. Practically  never — except  when  dyed — are  hair  and 
beard  or  mustache  of  exactly  the  same  shade.  In  securing 
this  replication  of  natural  difference  lies  the  whole  art  and 
difficulty  of  this  phase  of  make-up.  More  than  the  mus- 
tache the  beard  needs  skilful  manipulation  for  both  shading 
and  thickness.  So  few  stage  beards  look  as  though  they 
have  grown  upon  the  actor's  face.  The  worst  I  have  seen 
recently  is  the  pair  worn  by  the  villain  and  the  hero  in  the 
London  production  by  Arthur  Bouchier  oi  At  the  Villa 
Rose.  The  latter's  appearance  in  the  disguise  of  the  last 
act  was  as  funny  as  intentional  travesty.  The  disguise  in 
real  life  would  not  have  deceived  any  person. 

Wigs  under  most  conditions  are  likely  to  cause  uneasiness 
on  both  sides  of  the  footlights.  An  ideal  condition  would 
be  to  have  among  the  acting  group  a  man  who  would  look 
almost  exactly  like  the  character  to  be  presented  and  also 
able  to  best  act  that  role.  Then  the  use  of  most  wigs  could 
be  abandoned.    Worst  of  all  are  the  bald  domes  or  half 


150     PRODUCING  IN  LITTLE  THEATERS 

bald  heads.  The  best  fitting  bald  front  will  never  tightly 
cling  to  the  forehead  of  the  amateur  for  whom  it  has  been 
hired.  The  grease  paint  may  bring  the  false  and  the  real 
skin  close  together  in  color,  and  a  few  horizontal  lines  across 
both  will  make  the  yawning  juncture  look  like  a  wrinkle, 
but  there  will  still  be  the  open  space  which  no  amount  of 
coloring  or  drawing  can  entirely  close.  Fortunate  is  the 
company  which  has  among  its  excellent  actors  a  few  young, 
middle-aged,  and  elderly  men  whose  make-up  is  complete 
as  soon  as  they  take  off  their  hats. 

If  a  professional  make-up  man  is  hired  his  stock  of  paints, 
powders,  and  wigs  will  in  all  probability  be  better  than  the 
aggregate  of  the  private  possessions  of  the  performers. 
When  hiring  is  not  feasible  or  desirable  there  may  be  one 
member  whose  skill  or  interest  lies  in  such  exercises.  This 
work  must  be  subjected  to  the  inspection  of  the  director 
exactly  as  the  costuming.  If  he  has  his  mind  on  all  the 
details  he  will  have  given,  long  before  the  dress  rehearsal, 
specifications  of  make-up  for  every  character.  He  will  dic- 
tate changes  based  upon  observation  of  the  performers  made 
from  the  auditorium.  To  insure  celerity  every  performer 
should  put  on  his  own  make-up.  He  may  have  his  own 
make-up  box,  or  the  organization  may  own  a  well-stocked 
one.  To  have  every  actor  do  everything  for  himself  comes 
closest  to  professional  practice,  but  when  the  result  does 
not  justify  the  responsibility  there  should  be  no  hesitancy 
in  insisting  upon  a  surer  and  safer  procedure.  A  mistaken 
make-up  may  be  as  false  a  note  in  a  performance  as  a  mis- 
take in  casting.  It  is  one  of  the  most  disturbing  of  the  petty 
annoyances  of  the  theater.     Practice  will  make  perfect  in 


Pliotoeraph   by    MoftVtt 

Plays  by  J.  M.   Rarrie. 


Above :      Quality    Street.      Hathaway- Brown    School, 
Cleveland.     An   all-girl   cast. 


Below:     Rosalind.     Hickox    Studio   Players,   Chicago. 


The  Ilickox   Studio   I'laycrs,  Chicago 


Above:     The  Storm,  by  John  Drinkwater, 


Below:     Ever\hod\'s  Husband,  by  Gilbert  Cannan. 


COSTUMES  AND  MAKE-UP  151 

this  as  in  all  things,  but  a  few  serious  failures  during  the 
apprenticeship  may  be  costly.  It  would  be  good  for  every 
amateur  actor  to  take  several  lessons  from  a  professional 
make-up  artist,  for  there  are  tricks  of  ground  colors,  blend- 
ing, shading,  indicating  age,  eradicating  features,  empha- 
sizing them,  modifying  them,  which  may  be  speedily  learned. 
After  the  manual  parts  have  been  mastered  the  training 
can  be  pursued  at  practically  all  times.  Every  illustration 
the  actor  sees,  every  photograph  he  notices,  every  painting 
he  observes,  will  contain  models  which  he  can  photograph 
upon  his  imagination  for  later  reproduction.  Elsewhere  in 
this  book  the  remark  of  Sir  Frank  R.  Benson  describing  one 
of  the  actor's  essential  abilities  is  quoted: — "he  must  be  a 
human  kodak."  Nowhere  is  this  so  plainly  true  as  in  this 
matter  of  making-up. 

While  pictures  will  help  him  to  fix  certain  marks,  colors, 
lines  in  his  mind,  there  is  a  wider  and  more  fascinating 
field  of  observation  for  reproduction — ^human  nature  in  all 
its  myriad  living  forms  around  him.  Let  the  actor  study 
human  beings  continually,  let  him  peruse  every  character- 
ful countenance,  let  him  analyze  the  reality  of  the  faces  and 
hands  he  sees,  and  then  by  successful  reproduction  and 
adaptation  of  them  he  will  inject  into  his  own  impersona- 
tions an  appearance  of  individual  actualness. 


CHAPTER  IX 
LIGHTING 

If  a  person  has  his  own  theater  fully  equipped  he  is  able 
to  make  any  experiments  he  pleases  to  secure  novel  effects 
of  setting,  costuming,  and  lighting — always  provided,  of 
course,  that  he  has  enough  money  to  pay  for  all  his  failures, 
and  time  enough  to  experiment  until  he  gets  exactly  what 
he  wants.  When  we  read  the  accounts  by  Mr.  Belasco  we 
are  envious  of  the  chance  to  try  for  weeks  the  working 
out  of  the  best  plan  for  showing  the  floating  souls  in  the 
last  act  of  The  Darling  of  the  Gods.  We  marvel  at  the 
capital  which  permitted  discarding  all  the  painted  canvas 
which  had  been  devised  at  first  for  the  scene,  and  the  sub- 
stitution of  hangings  tinted  by  colored  lights.  What  ama- 
teur organization  can  afford  to  do  such  things? 

The  amateur  producer  is  always  at  a  disadvantage  of 
time,  equipment,  and  money  in  such  matters.  Working 
upon  a  small  stage,  in  cramped  spaces,  with  few  lighting 
facilities,  for  an  audience  predisposed  to  be  over-critical, 
rehearsing  at  odd  times  persons  otherwise  regularly  em- 
ployed, for  a  few  performances  at  most,  is  there  any  won- 
der that  his  effects  are  so  far  below  his  ideals?  Should  we 
not  wonder  that  his  results  are  as  effective  as  they  are? 

With  all  the  odds  against  him  the  amateur  producer  has 
made  the  most  notable  advances  in  aims  and  methods,  and 

152 


LIGHTING  153 

produced  the  most  arresting  novelties  in  such  matters  as 
lighting. 

It  is  almost  axiomatic  that  no  stage  upon  which  amateur 
productions  are  offered  is  adequately  equipped.  If  there 
are  dimmers  there  are  usually  not  enough  for  all  circuits. 
If  there  are  any  they  are  usually  the  old-fashioned  cir- 
cular kind  with  few  points  of  contact  so  that  the  lights 
jump  up  and  down  instead  of  increasing  or  diminishing 
evenly.  An  experimental  electrician  may  even  be  forced  to 
construct  his  own  dimmers  of  earthenware  crocks  contain- 
ing a  salt  solution  into  which  he  lowers  one  end  of  the  wire 
to  carry  the  full  current  when  it  reaches  the  other  at  the 
bottom  of  the  solution.  But  light  from  these  is  uncertain 
in  intensity,  the  apparatus  is  cumbersome,  the  operator 
has  to  be  reliable. 

At  times,  the  opposite  of  the  foregoing  is  true.  The  light- 
ing equipment  of  a  small  theater  may  be  quite  complete — 
but  so  complicated  that  only  one  or  two  persons  ever  master 
its  intricacies  well  enough  to  use  it  satisfactorily. 

No  one  can  lay  down  absolutely  just  what  the  lighting 
equipment  of  any  amateur  stage  should  be,  for  at  any  time 
some  play  or  spectacle  may  require  a  detail  quite  unfore- 
seen but  which  the  electrician  must  be  able  to  provide.  The 
one  great  feature  of  the  lighting  arrangements  as  of  all 
other  stage  appliances  should  be  adaptabilitjr.  It  is  pos- 
sible, however,  to  suggest  certain  desirable  things  upon 
which  to  base  a  beginning  of  satisfactory  lighting. 

There  should  be  footlights.  Whether  they  should  always 
be  used  is  another  matter.  But  they  should  be  provided, 
for  it  is  as  ridiculous  to  say  they  should  never  be  used  as 


154     PRODUCING  IN  LITTLE  THEATERS 

it  is  to  insist  that  they  should  be  used  for  every  perform- 
ance. The  footlights  should  be  on  as  many  different  cir- 
cuits as  possible,  each  with  its  separate  switch  and  if  pos- 
sible, its  separate  dimmer.  Three  different  colors — red, 
blue,  amber — are  the  best  combination.  If  each  of  these 
can  be  split  so  that  one  half  of  each  section  to  the  right 
and  left  of  stage  center  can  be  manipulated  separately,  there 
will  be  chance  for  more  effects,  but  this  last  is  not  an  es- 
sential. When  blue  lights  are  used  in  connection  with 
others,  about  twice  as  many  blue  bulbs  are  required  as  of 
each  of  the  other  colors.  White  lights  have  almost  entirely 
disappeared  from  the  modern  theater,  yet  in  some  cases  they 
may  be  better  than  amber.  In  such  uses  bulbs  can  be 
replaced  in  the  sockets  for  special  effects. 

The  placing  of  footlights  is  a  very  important  matter.  I 
know  of  several  auditoriums  in  which  because  of  some 
transient  interest  in  pageantry,  or  some  scheme  to  link  the 
audience  with  the  performers,  permanent  aprons  or  fore- 
stages  were  built  and  permanent  footlights  placed  along  the 
front  edge,  yards  away  from  the  line  of  the  proscenium 
opening.  The  result  of  this  is  that  when  a  performer  steps 
into  this  fore-space,  he  is  badly  lighted  by  too  strong  a 
glow  from  the  floor — an  entirely  unnatural  source  of  strong 
light.  To  counteract  this  glaring  error  of  construction,  in 
one  auditorium  temporary  wooden  frames  are  erected  at 
the  rear  of  the  first  floor  from  which  high  power  nitrogen 
bulbs  with  reflectors  looking  like  dishpans  project  strong 
glares  upon  the  stage.  This  makeshift  imitation  of  the  use 
of  the  spot  or  flood  light  in  the  professional  theater  is  never 
satisfactory,  for  spectators  stumble  against  these  unsightly 


LIGHTING  155 

contraptions,  they  are  not  easily  controlled,  and  worst  of 
all,  they  cast  strong  glares  upon  the  backs  of  the  occupants 
of  at  least  the  first  ten  rows  of  seats.  This  forestage  also 
draws  amateur  actors  out  from  the  picture,  for  scenery  has 
to  be  set  behind  the  proscenium  arch  only.  There  is  always 
a  different  intensity  from  the  lights  behind  the  upper  edge 
of  the  proscenium  arch,  so  that  different  parts  of  the  stage 
show,  for  no  reason,  different  intensities  of  lighting.  The 
addition  of  the  forestage  in  this  instance  has  practically 
ruined  the  stage. 

In  the  second  hall — a  high  school  auditorium — the  matter 
has  been  more  easily  remedied.  When  the  forestage  is  used 
the  moveable  footlights  are  placed  along  its  front  edge.  To 
neutralize  the  light  from  them  a  corresponding  set — alike  in 
color,  number,  switches — was  placed  upon  the  stage  side  of 
a  deep  ceiling  beam  extending  straight  across  the  house,  far 
above  the  heads  of  the  audience.  By  careful  adjusting  of 
reflectors  and  shades  the  light  from  this  border  strikes  the 
stage  just  behind  the  footlights.  The  various  series  are 
controlled  from  the  same  switchboard.  When  the  forestage 
is  not  used  the  footlights  extend  across  it  not  at  its  edge, 
but  just  in  front  of  the  curtain  line.  Then  their  light  is 
matched,  as  is  usual,  from  the  first  border,  and  the  house 
ceiling  beam  row  is  not  used  at  all. 

The  footlights  of  the  first  hall  are  permanent  ones  sunk 
in  a  curving  trough,  so  that  modifications  cannot  be 
employed.  Fixity  of  equipment  has  reduced  the  utility  of 
that  stage. 

Unless  the  footlights  are  built  with  professional  design 
and  connections  amateur  stages  are  better  off  with  moveable 


156      PRODUCING  IN  LITTLE  THEATERS 

sets.  These  may  be  of  many  different  designs.  Troughs 
may  be  covered  by  board  sections,  making  the  whole  stage 
level.  Other  devices  swing  on  pivots,  so  that  the  lights 
turn  down  and  the  boards  swing  into  place  as  flooring.  In 
designing  any  special  frames  or  reflectors  remember  that 
more  light  comes  from  the  sides  of  an  incandescent  bulb 
than  from  the  round  end.  If  you  are  going  to  place  foot- 
lights upon  the  stage  floor  consider  the  line  of  vision  from 
the  front  rows.  If  the  front  of  your  stage  descends  to  the 
house  floor  in  a  series  of  three  or  four  steps,  you  can  place 
your  footlights  upon  the  top  step.  Make  it  possible  to  intro- 
duce corrections  before  finally  installing.  For  instance,  be- 
ware of  back  reflection  into  the  auditorium  from  the  ver- 
tical step.  This  would  light  the  ceiling  near  the  stage.  It 
might  cast  shadows  on  the  lower  parts  of  the  performers' 
bodies.  Close  in  the  ends  of  such  footlights  so  that  the 
side  walls  are  not  illuminated.  You  will  be  amazed  at  how 
much  light  can  filter  around  corners. 

When  amateurs  can  discuss  nothing  else  about  their  plays 
they  can  always  raise  the  question,  "  foots  or  no  foots?  " 
Those  who  insist  upon  footlights  are  always  informed  by 
their  opponents  that  Mr.  Belasco  discarded  them  long  ago, 
and  that  recently  Mr.  Hopkins  has  been  using  an  overhead 
system.  To  this  the  defenders  of  footlights  will  answer  quite 
truthfully  that  many  plays  of  the  former  producer  are  most 
inappropriately  lighted,  and  that  the  system  of  the  latter 
has  received  a  great  deal  of  criticism  from  intelligent 
theater-goers.  Its  most  dangerous  disadvantage  is  that 
actors  will  develop  under  it  an  artificial  pose,  for  with 


LIGHTING  157 

light  coming  from  above  an  actor  is  aware  that  his  nose 
and  h'ps  throw  triangular  shadows  upon  his  face  as  they 
never  do  in  natural  lighting  outdoors  or  in  a  room.  To 
counteract  this,  members  of  companies  playing  in  several 
theaters  in  New  York  have  fallen  into  the  trick  of  tilting 
their  heads  back  to  catch  better  lighting. 

In  October,  1920,  a  critic  in  a  New  York  periodical  wrote 
these  pertinent  sentences: — "It  is  in  order,  though,  to  ask 
where  Mr.  Belasco,  usually  so  correct  in  matters  of  light- 
ing detail,  ever  saw  moonlight  so  vivid  that  it  outshone  the 
strong  illumination  of  a  brilliantly  lighted  drawing-room. 
It's  all  right  for  Mr.  Arthur  Hopkins  to  over-rule  natural 
laws  in  lighting  effects  but  we  don't  often  see  Mr.  Belasco 
working  miracles  of  that  sort.  The  latter  usually  has  some 
logical  reason  or  excuse  for  his  stage  surprises  in  lighting." 
— Mr.  Metcalf  in  Judge. 

An  amateur  producer  will  always  try  to  correct  the  in- 
sistencies of  the  faddist  by  the  cold  test  of  actuality.  The 
author  of  an  excellent  book  on  play  production  admitted 
to  me  that  a  certain  lighting  effect  which  he  praised  en- 
thusiastically he  had  never  seen  on  the  stage;  he  had  based 
his  opinions  upon  a  black  and  white  sketch  made  by  the 
artists.  This  is  no  proof  that  the  acted  detail  was  at  all 
like  the  artists'  preliminary  conception.  Very  likely  when 
this  was  tried  in  actual  performance — if  it  ever  was — 
changes  of  all  kinds  were  made  before  the  effect  was  satis- 
factory. If  you  have  participated  in  many  dress  rehearsals 
— in  most  cases  the  only  ones  in  which  amateurs  use  the 
stage  where  their  performance  is  to  be  given — ^you  are  aware 


158     PRODUCING  IN  LITTLE  THEATERS 

of  how  much  is  still  to  be  arranged  before  the  opening 
night.  Frequently  the  entire  lighting  scheme  is  revised 
between  the  two  dates. 

For  a  long  time  Mr.  Bassett  Jones,  a  well-known  au- 
thority on  all  kinds  of  lighting,  was  quoted  as  the  final  force 
in  the  banishment  of  footlights,  but  he  has  declared  that 
they  are  useful,  often  necessary,  so  all  who  followed  his 
lead,  will  now  have  to  admit  their  value. 

For  certain  plays,  then,  footlights  are  necessary.  With 
them  there  must  be  side  lights  or  strip  lights,  and  border 
lights  above.  Two  or  three  sets  of  border  lights  may  be 
necessary  to  cover  the  stage  depth.  This  scheme  does  not 
mean  that  the  entire  stage  will  be  lighted  equally  from  all 
points,  for  by  varying  the  intensity,  effects  of  naturalness 
may  be  reproduced.  One  lighting  expert  has  made  the  keen 
suggestion  that  this  same  natural  appearance  of  the  persons 
on  the  stage  may  be  heightened  by  placing  at  one  side  an 
amber  light  and  at  the  other  a  blue  one.  This  arrange- 
ment will  cast  slight  shadows  upon  one  side  of  the  face 
exactly  as  we  see  in  actual  life.  In  a  room  light  strikes 
the  face  from  definite  sources.  Outdoors  all  lighting  comes 
from  level  sun  rays.  If  on  the  stage  the  shadows  are  not 
too  pronounced  the  realistic  aspect  of  the  acting  will  be 
enhanced. 

Strip  lights  at  the  sides  and  the  front  row  of  border 
lights  are  intended  to  neutralize  the  shadows  cast  upward 
by  the  footlights.  In  an  interior  with  a  ceiling  upon  it  the 
front  border  light  is  the  only  one  that  can  be  utilized,  so 
it  must  equal  in  intensity  the  footlights.  When  exterior  sets 
are  used  this  light  from  the  front  would  cast  shadows  of 


LIGHTING  159 

every  profile  of  foliage,  every  leg-drop,  every  tree  form. 
The  other  border  lights  are  then  used  behind  each  such  sec- 
tion. In  the  rear  the  back-drop  or  cyclorama  is  lighted 
from  above  by  the  last  border,  or  if  the  row  of  lights  can 
be  masked  and  no  character  has  to  pass  behind  them,  by 
strips  of  lights  upon  the  floor. 

Further  intensification  of  lighting  is  usual  in  all  theaters. 
The  spot  or  flood  thrown  from  the  gallery,  is  shown  at  its 
crudest  in  the  vaudeville  house.  In  the  gorgeous  Chu  Chin 
Chow  a  large  battery  of  lights,  operated  artistically  from 
the  front  of  the  balcony,  enhanced  many  of  the  scenes.  The 
Little  Theater  of  New  York  has  dropping  sections  of  the 
ceiling  from  which  rays  can  be  directed  upon  the  stage. 
In  order  to  secure  wider  diffusion  of  light  to  produce  a  more 
agreeable  mellowness  some  little  theaters  have  wrought-iron 
brackets  projecting  into  the  house  from  each  side  of  the 
stage  opening.  Upon  these  are  hung  lanterns,  or  globes,  or 
some  other  decorative  unit  to  spread  light  more  widely  than 
the  front  border  can.  While  some  directors  suggest  the 
wider  use  of  the  auditorium  to  supplement  stage  lighting, 
most  directors  try  to  confine  lighting  to  the  stage  proper, 
for  any  extended  use  of  the  darkened  house  is  nothing  but 
a  return  to  the  early  gallery  spot,  no  matter  how  much 
modified  it  may  be. 

In  modern,  realistic  plays  there  are  employed  all  kinds 
of  devices  to  bring  out  facial  expression.  Many  persons  in 
the  audience  never  know  of  their  presence  in  the  scene. 
Two  men  in  The  Tabloid,  by  Arthur  Eckersley,  had  an  im- 
portant scene  as  they  stood  on  opposite  sides  of  a  table 
above  which  hung  a  dome  light.     It  was  discovered  that 


i6o     PRODUCING  IN  LITTLE  THEATERS 

while  this  single  lighting  unit  gave  exactly  the  concentrated 
effect  desired  in  the  otherwise  dark  room,  it  did  not  bring 
out  for  persons  sitting  in  the  audience  the  tense  faces  of  the 
two  men.  A  white  globe  was  concealed  in  a  pasteboard 
box  behind  a  rack  of  books  upon  the  table  to  throw  a  light 
up  to  the  men's  faces.  A  similar  device  is  the  placing  of 
a  light  behind  the  foot  of  a  bed  to  fall  upon  the  heroine's 
face  as  she  sits  up  against  the  pillows.  These  are  simple 
cases,  of  course,  but  other  tricks  are  as  usual.  When  young 
Baxter  of  Seventeen  stood  before  the  mirror  to  note  his  ap- 
pearance in  his  father's  dress  suit,  few  people  realized  that 
an  extra  amount  of  light  from  a  spotlight  concealed  among 
the  foots  was  turned  upon  him.  So  in  many  so-called 
realistic  productions  there  are  heightening  effects.  Mrs. 
Fiske  may  remark  that  she  did  not  know  for  a  long  time 
the  meaning  of  the  phrase  "  A  little  more  of  the  baby  on 
the  King,"  but  every  other  stage  performer  knows  it  and 
isn't  happy  until  he  gets  it,  whether  it  be  really  a  baby- 
spot  or  a  full-sized  one. 

As  amateurs  deal  largely  with  unusual  plays,  so  they  have 
more  opportunities  for  unusual  lighting  effects  than  profes- 
sionals. All  of  us  have  heard  of  the  wonderful  effects  se- 
cured by  simple  means.  Maurice  Brown  always  declared 
that  the  lighting  system  of  his  Chicago  Little  Theater  was 
extremely  simple.  Moon  rays  have  been  cast  across  stages 
from  a  bicycle  lantern  covered  with  green  tissue  paper. 
Improvised  dimmers  have  been  already  mentioned. 

With  the  propensity  to  romantic,  costume,  fantastic  pro- 
ductions has  come  the  most  significant  opportunity  of 
amateur  stage  decorators.     A  large   number   of   treatises 


LIGHTING  i6i 

offer  help  to  the  beginning  experimenter.  If  he  has  the 
equipment,  the  material,  the  time,  he  can  work  out  com- 
binations for  himself. 

The  supernatural  offers  him  his  first  chance.  In  com- 
bination with  the  real  he  has  merely  to  resort  to  the  prin- 
ciple of  contrast. 

At  one  time,  undoubtedly,  a  person,  if  asked  to  mention 
the  color  which  connoted  the  other  world,  would  have  men- 
tioned red.  While  this  is  fairly  common  in  people's  minds, 
there  is  a  deeper  response  to  the  suggestion  of  the  unreality 
of  green.  This  color  has  come  to  be  used  almost  always  to 
aid  the  appearance  of  the  Ghost  in  Hamlet,  so  the  amateur 
director  can  take  a  lesson  from  this.  If  he  is  producing  Lord 
Dunsany's  A  Alight  at  ait  Inn  how  shall  he  evoke  the  proper 
awesomeness  at  the  entrance  of  the  dread  god  Klesh? 
First  of  all,  to  be  most  arresting,  he  should  enter  at  the 
rear.  With  night  outside  the  Inn  it  should  be  easy  to  have 
the  stage  rather  darkened.  To  heighten  the  supernatural 
have  the  door  opened  by  unseen  hands  to  disclose  Klesh 
standing  there  in  a  ghastly  green  light.  This  can  be  thrown 
upon  him  from  a  baby-spot  suspended  just  above  the  door- 
way, focussed  upon  him.  As  he  advances  slowly  into  the 
room,  another  baby-spot,  already  hung  in  the  first  border 
and  carefully  tested  before  the  play  began,  should  be  turned 
upon  the  upper  part  of  his  body.  Any  shadow  should  be 
neutralized.  The  effect  can  be  further  emphasized  by  the 
use  of  phosphorescent  paint  upon  parts  of  the  face  and  cos- 
tume. Another  method  of  securing  the  same  effect  would 
be  to  arrange  a  headdress  projecting  somewhat  over  the 
face.    Under  this  conceal  a  small  green  electric  light  bulb 


1 62      PRODUCING  IN  LITTLE  THEATERS 

connected  with  a  small  storage  battery  concealed  in  the 
actor's  costume.  This  glow  cast  downward  will  give  the 
proper  ghoulish  tint.  The  spot  of  light  cast  upon  the  floor 
will  not  be  too  distracting  to  the  spectators.  It  may  even 
give  the  impression  that  the  figure  moves  about  in  his  own 
supernatural  glow. 

In  a  full-length  play  lighting  is  likely  to  be  as  important 
as  properties.  In  combination  with  the  scenery  it  is  almost 
as  significant  as  the  play  and  the  acting.  Long  before  the 
full  drama  is  placed  upon  the  stage  for  its  last  rehearsals, 
the  director  should  hand  to  the  lighting  manipulators  his 
specifications,  or  he  should  discuss  with  them  exactly  what 
he  should  like  to  have.  The  technicians  will  then  be  able 
to  inform  him  whether  he  may  have  all  he  wants  exactly 
as  he  has  described  it.  These  technical  workers,  knowing 
the  equipment  and  its  capabilities  and  flexibility  better 
than  he  does,  will  probably  suggest  modifications,  substi- 
tutes, and  omissions,  until  a  practicable  working  compro- 
mise is  evolved.  The  craftsman  detailed  to  manipulate  the 
lights  and  all  his  assistants  should  know  the  play  from  see- 
ing it  rehearsed  rather  than  from  reading  the  script.  This 
visualization  will — if  they  be  artistically  interested — give 
them  ideas  for  the  best  reinforcing  effects.  Their  sugges- 
tions should  always  be  tried  unless  they  are  manifestly  im- 
possible of  realization  or  inconsistent  with  the  ideas  of  the 
play  already  instilled  and  crystallized.  Enthusiasts  should 
be  curbed  until  they  accept  their  parts  as  contributory,  not 
leading  ones.  If  an  experimenter  is  allowed  to  experiment 
too  long  he  will  become  an  improviser  and  stop  the  play 
while  he  ecstatically  runs  the  whole  gamut  of  the  lighting 


Phdtograph  by  White 


Above:     The  Aulis  DiMculty,  by  Maurice  Baring.     Yale 

Dramatic  Association. 
Below  :     TJie  Dark  Lady  of  the  Soiuiets,  by  G.  Bernard 

Shaw.    The  Play-House,  Lake  Forest. 


LIGHTING  163 

range.  Before  the  dress  rehearsal,  the  lighting  should  be 
decided  upon,  the  connections  should  be  made,  the  lights 
placed,  the  cues  memorized,  the  changes  known.  Then  a 
dress  rehearsal  should  do  more  to  smooth  a  performance 
than  it  so  frequently  does.  Most  dress  rehearsals  seem  to 
ruffle  people.  Actors  reach  home  at  two  in  the  morning, 
while  members  of  the  productions  committee  stay  up  all 
night  to  finish  scenery  and  run  wires.  This  should  be  cor- 
rected, and  directors  should  insist  upon  an  expedition  and 
facilitation  of  all  the  mechanical  aids  to  good  productions. 
It  is  a  ridiculous  waste  of  time  to  have  the  cast  dressed 
and  made-up  to  start  a  dress  rehearsal  at  half  pact  seven, 
and  find  the  electrician  of  the  group  just  starting  to  screw 
colored  bulbs  into  the  sockets.  If  everything  had  been 
placed  and  connected  before  dinner,  there  could  be  a  half- 
hour's  experimentation  before  rehearsal,  then  no  stops  need 
be  made  during  the  action  to  repeat  lighting  changes.  Dress 
rehearsals  are  only  too  frequently  more  likely  to  be  scenery 
and  lighting  rehearsals. 

A  worse  kind  of  late  preparation  occurs  when  the  lighting 
expert  and  the  director  change  their  minds  after  the  dress 
rehearsal.  This  is  fatal  when  it  should  be  tried  with  the 
action  itself,  as  there  is  no  chance  to  work  it  out  except 
in  the  actual  performance.  Worse  still  is  the  last  minute 
change  when  everything  is  ready  for  the  performance  to 
begin.  Once  I  sat  in  an  audience  gathered  to  see  three 
one-act  plays.  Between  the  second  and  third  the  wait 
stretched  to  thirty  minutes.  From  behind  the  curtains 
came  muffled  sounds  of  moving  objects  and  persons.  Then 
there  appeared  in  the  rear  of  the  house  the  head  of  the 


i64     PRODUCING  IN  LITTLE  THEATERS 

productions  committee.  When  spectators  asked  if  the  cur- 
tain would  open  soon  they  were  told  no  one  knew.  Author 
and  stage  manager  had  decided  to  change  the  lighting  and 
were  frantically  moving  lights  about,  trying  color  mediums, 
rearranging  the  actors,  and  in  general  raising  such  last- 
minute  confusion  that  others  were  deserting  the  stage  in  dis- 
gust and  despair.  Neither  of  the  two  men  seemed  to  feel 
any  responsibility  to  the  waiting,  anxious  audience,  who 
should  have  keenly  resented  such  theatrical  mismanagement 
and  discourteous  forgetfulness.  At  times  like  this — and 
every  amateur  organization  experiences  them — there  should 
be  a  beneficent  tyrant  whose  word  is  law.  He  should  order 
a  rapid  arrangement,  banish  the  vacillating  temperaments 
from  the  stage,  call  "  places  "  to  the  actors,  and  give  the 
signal  for  the  curtain. 

A  person  who  cannot  make  up  his  mind  in  advance  should 
never  be  entrusted  with  the  staging  of  amateur  plays. 

The  first  time  a  director  studies  a  play  he  may  make 
indications  of  the  lighting.  How  to  carry  these  out  will  be 
settled  later  in  conference  with  his  electrical  staff. 

A  great  favorite  with  skilled  amateurs  is  The  Chinese 
Lantern  by  Laurence  Housman.  It  gives  so  much  chance 
for  beauty  of  lighting  that  it  is  worth  studying  for  that 
alone.  The  three  acts  take  place  in  the  studio  of  a  Chinese 
artist.  This  requires  an  interior  with  doors,  windows,  easels, 
stools,  pictures.  Only  one  unusual  feature  is  required  by 
the  play.  This  is  a  large  picture  showing  a  garden,  and  in 
the  foreground  a  hanging  lantern,  a  mandolin,  and  a  jar 
with  blossoms.  At  several  points  in  the  play  this  picture 
glows  with  unnatural  light,  and  in  it  appears  the  old  master 


LIGHTING  i6s 

who  painted  it,  to  utter  warning  and  advice  to  two  of  the 
characters.  So  far  all  this  is  quite  easy  to  construct.  But 
— and  this  demands  ingenuity  for  its  successful  accomplish- 
ment— into  that  picture  in  Act  II  walks  and  disappears  a 
young  artist,  and  from  it  in  Act  III  he  returns  to  claim  his 
sweetheart  just  before  she  is  married  to  the  fat  clown  whose 
soul  is  set  on  being  a  grocer. 


Back  Wall Black  Velvet  Cnrtafn 

JJghta^ 


Ughta 


Footlights  and  Border  Lights 

Lighting  arrangement  for  The  Chinese  Lantern.    See 
illustration  for  the  stage  setting. 

Placed  about  the  stage  and  hanging  from  the  ceilings 
might  be  beautiful  Chinese  lanterns,  except  that  they  will 
not  serve  for  the  brightness  of  full  day  in  which  the  play 
opens  and  ends.  Footlights  and  borders  of  amber  should 
bathe  the  colorful  stage.  Act  II  opens  after  sunset. 
Through  the  translucent  paper  covering  of  the  windows  a 
red  glow  could  be  thrown  from  a  flood,  or  a  bunch  of  bulbs. 
This  would  have  to  be  reinforced  by  strong  red  from  foot- 
lights and  borders.  As  the  slave  girl  goes  about  stage  light- 
ing the  lanterns   (by  turning  the  buttons  of  the  electric 


1 66     PRODUCING  IN  LITTLE  THEATERS 

lights  in  them)  the  red  must  be  dimmed.  Gradually  the 
amber  in  footlights  and  borders  would  replace  the  red,  al- 
though a  faint  tint  might  be  allowed  to  play  upon  the 
window.  A  little  later  the  drudge  is  ordered  to  put  out  all 
the  lights.  If  he  turns  out  a  few  in  the  lanterns  the  audi- 
ence will  be  prepared  for  a  gradual  darkening  which  is 
needed  for  the  supernatural  effect  to  be  operated  with  the 
painting  a  few  minutes  later.  When  the  boy  who  yearns 
to  be  an  artist  is  discovered  copying  the  old  masterpiece 
his  sketch  is  torn  to  fragments.  As  he  lies  sobbing  on  the 
floor,  the  lantern  in  the  picture  begins  to  glow,  disclosing 
the  great  old  painter  who  stretches  out  his  hand  and  draws 
the  youth  into  the  painting,  where  both  figures  disappear. 
When  all  the  characters  rush  in  and  find  him  vanished  they 
of  course  light  the  lanterns,  so  there  is  a  brilliant  stage 
again. 

Act  III  discloses  the  studio  before  dawn.  Just  the 
merest  dim  light  from  a  single  bulb  in  the  border  would 
be  enough  to  show  the  slave-girl  asleep  on  the  floor.  The 
first  person  who  enters  carries  a  lantern.  It  should  throw 
enough  light  to  cover  this  first  part.  A  later  character 
orders  the  door  opened.  Through  it  should  streak  the  pale 
light  of  dawn,  reinforced  slightly  from  the  front  and  above. 
It  is  again  in  this  dim  light  that  the  picture  begins  to  glow 
and  from  it  steps  the  former  drudge,  now  resplendent  in 
festal  robes.  As  he  and  the  little  slave-girl — really  the 
bearer  of  a  charm  to  make  her  husband  a  great  artist — 
declare  their  love,  the  red  glow  of  morning  bathes  the  win- 
dows and  pours  through  the  door.  Again  this  should  be 
reinforced  by  the  other  lights,  but  not  too  strongly.    Then 


LIGHTING  167 

as  the  action  progresses  this  red  glow  is  replaced  by  the 
amber  of  bright  daylight — but  not  too  quickly — and  so  the 
play  ends  in  the  brightness  with  which  it  began. 

The  manipulation  of  the  picture  would  be  extremely  easy 
were  it  not  for  the  requirement  of  having  a  character 
actually  step  into  it  and  step  from  it  later.  If  its  only 
mystery  were  the  appearance  of  its  painter  in  its  depths 
that  would  be  easy.  A  picture  built  up  of  its  details  and 
covered  with  gauze  would  serve  that  illusion  nicely.  The 
actor,  as  the  old  artist,  could  step  from  behind  some  cover- 
ing foliage.  Or  if  the  picture  were  painted  on  the  gauze, 
then  reproduced  on  the  background,  a  few  lights  turned  on 
behind  the  gauze  would  bring  the  standing  figure  into  view. 
But  entrances  and  exits  preclude  any  gauze  covering. 

In  one  amateur  production  this  was  quite  simply  ar- 
ranged, yet  it  drew  spontaneous  applause  from  audiences 
of  thousands  every  time  it  was  repeated. 

The  tone  of  the  studio  walls  was  tan  in  panels  framed 
in  black.  In  the  center  of  the  rear  wall  was  set  an  open 
arch  some  six  by  seven  feet.  Behind  it  about  three  feet 
away  were  hung  black  velvet  curtains.  A  platform  was 
covered  with  a  dark  red  rug.  Upon  this  were  placed  a 
couple  of  stools,  a  tall  brilliantly  colored  jar  containing  sev- 
eral sprays  of  pink  blossoms,  and  a  mandolin.  A  lattice 
work  railing  painted  white  set  up  at  the  rear  of  the  plat- 
form threw  all  these  details  into  high  relief  in  the  fore- 
ground of  the  supposed  painting.  Across  the  velvet  curtain 
was  pinned  a  cut-out  paper  tree  branch  painted  in  rather 
flat  tones.  Its  foliage  dropped  and  mounted  about  the  black 
background,   which   appeared   yards   away.     The   lantern 


1 68      PRODUCING  IN  LITTLE  THEATERS 

which  hung  at  the  top  of  the  painting  was  only  half  a 
lantern  masking  an  electric  bulb  which  illuminated  the 
entire  upper  center  of  the  painting  at  the  proper  time.  On 
each  side  of  this  built-up  painting  was  a  strip  of  six  incan- 
descent lights,  the  lower  two  red,  the  upper  four  white. 
These  also  were  turned  on  only  at  the  proper  time.  Placed 
as  it  was,  the  furthest  thing  on  the  stage  from  the  footlights, 
continually  detracted  from  by  the  lines,  brilliant  costumes, 
and  movements  of  the  actors,  this  "  painting "  actually 
appeared  to  be  one.  Just  before  the  old  master's  appear- 
ance, without  the  audience's  being  clearly  aware  of  it,  the 
regular  stage  was  darkened  as  much  as  possible.  At  its 
darkest  the  old  artist  slipped  sideways  into  his  position. 
Then,  as  there  were  no  dimmers  on  the  side  strips,  two 
boys,  carefully  alternating,  screwed  in  the  lowest  red 
globes,  then  those  above  them,  until  finally  the  bulb  in  the 
lantern  above  the  opening  was  turned  on,  and  the  artist 
stood  in  brilliant  view.  The  entire  picture  glowed,  of 
course,  by  contrast  with  its  previous  lighting.  For  the  dis- 
appearance of  the  character  the  process  was  reversed. 
There  was  no  hurry  about  it,  and  the  audience  was  not 
startled.  The  change  took  place  before  their  very  eyes, 
only  they  could  not  see,  nor  could  they  puzzle  out  exactly, 
how  it  was  done. 

If  you  keep  your  eyes  open  for  such  details  even  when 
you  are  most  interested  in  the  story  of  a  drama,  you  will 
notice  a  great  deal  of  good  lighting,  and  some  astoundingly 
bad  lighting.  The  most  laughable  is  the  way  the  footlights 
jump  up  after  the  butler  has  turned  the  light  switch  in  the 
wall,  and  has  taken  his  hand  away.    This  can  be  so  simply 


LIGHTING  169 

remedied  that  it  is  a  silly  error.  He  should  hold  his  hand 
on  the  button  until  the  lights  have  been  turned  up  at  the 
switch-board.  The  same  rule  applies  to  all  kinds  of  changed 
lighting  caused  by  the  characters  in  the  scene. 

Of  course,  opera  has  always  had  its  ridiculous  practices, 
and  always  will  have,  I  suppose,  yet  it  was  somewhat  of  a 
shock  to  see  in  the  otherwise  excellently  managed  produc- 
tion of  L'Oracolo  a  glaring  fault  of  lighting.  The  scene  is 
laid  in  Hatchet  Alley  of  the  San  Francisco  Chinese  quarter. 
Borders  to  mask  the  space  above  were  cleverly  devised  to 
represent  lines  of  clothes  on  ropes.  At  one  side  of  the  stage 
were  a  couple  of  stores,  while  the  other  was  taken  up  by 
the  opium  den  of  the  villain.  Across  the  stage  rear  was 
erected  a  long  piece  of  scenery  representing  several  tumble 
down  two-storied  houses.  The  lighting  was  entirely  satis- 
factory and  realistic  through  the  early  part  of  the  action — 
so  satisfactory  and  agreeable  that  a  spectator  was  not  even 
conscious  of  it.  Just  before  the  heroine  made  her  first  ap- 
pearance, an  Italian  lamp-lighter  crossed  the  stage  and  with 
his  long  stick  turned  out  the  street  lamp.  Quite  appropri- 
ately the  entire  stage  was  darkened  at  once,  and  a  cor- 
responding hush  fell  over  the  audience.  The  shutters  at 
one  of  the  second  story  windows  were  slowly  opened  and 
the  prima  donna  appeared.  Then  came  the  incongruous 
lighting.  Full  upon  her  was  thrown  a  brilliant  small  amber 
light.  There  was  no  place  on  the  stage  from  which  such 
a  strange  sudden  light  could  originate.  As  a  matter  of 
fact  it  was  thrown  from  behind  one  of  the  house  wings. 
Who  ever  saw  a  levelly  directed  yellow  light  in  a  dark 
night?    The  incongruity — designed,  no  doubt,  to  throw  her 


170      PRODUCING  IN  LITTLE  THEATERS 

into  high  relief — threw  her  entirely  out  of  the  picture,  and 
as  she  sang  with  the  conventional  gestures  of  all  grand 
opera,  her  hands  and  arms  cast  grotesque  shadows  upon  her 
face.  When  her  aria  was  finished  and  she  was  about  to 
close  the  shutters,  the  yellow  light  vanished  as  if  by  magic. 
The  whole  proceeding  was  so  prominent  in  a  modern  exhibi- 
tion of  stagecraft  as  to  call  for  more  than  passing  comment. 
If  the  prima  donna's  contract  stipulates  that  she  must 
be  favored  by  a  spot  at  her  first  appearance  ingenuity  should 
at  least  invent  something  more  plausible  and  acceptable 
than  a  bald  disregard  of  all  common  sense.  It  would  be 
easy  to  bring  in  that  patch  of  light,  but  naturally  and 
artistically.  For  instance,  just  before  the  street  lamp  is 
turned  out  the  stage  could  be  bathed  in  light  blue  sug- 
gesting moonlight.  A  slight  intensification  of  this  would 
give  a  reasonable  excuse  for  letting  a  slightly  brighter  ray 
strike  upon  those  shutters  before  they  are  opened.  Let 
the  character  move  into  the  light;  never  make  nature  fol- 
low her  around  to  "  spot  "  her  for  a  solo  just  at  the  proper 
moment.  Another  scheme,  not  quite  so  romantic  in  the 
circumstances,  would  be  to  have  the  room  in  which  the 
heroine  is,  bathed  in  light.  If  the  beams  were  thrown 
equally  from  above  and  from  both  sides  and  from  points 
slightly  in  front  of  her,  they  would  have  lighted  her  face 
well  enough  to  let  her  singing  be  heard.  As  she  was  sing- 
ing in  Italian,  only  the  melody  and  quality  mattered  to  the 
audience.  She  was  not  acting  in  any  tense  situation,  so 
there  was  no  need  to  emphasize  her  facial  expression.  In 
sum,  there  was  no  reason  for  this  incongruous  detail  of 
lighting.    If  the  explanation  be  given  that  dawn  was  com- 


LIGHTING  171 

ing,  that  can  be  answered  by  saying  that  dawn  does  not 
come  in  single  rays  but  in  a  broadly  diffused  glow.  Nor 
does  it  disappear  after  a  five  minute  seance  at  an  opened 
window. 

One  of  the  greatest  helps  to  the  director  is  the  scheme 
of  painting  with  color.  In  this  he  actually  tints  uncol- 
ored  or  neutrally  colored  scenery  and  hangings  with  col- 
ored light.  Such  a  scheme  cannot  be  utilized  for  all  kinds 
of  plays,  but  skilfully  employed  it  produces  elements  of 
beauty,  which  are  artistic  delights.  The  method  requires 
delicacy  of  treatment,  for  it  must  be  suggestive  rather 
than  garish.  It  also  must  not  interfere  with  the  proper 
lighting  of  the  characters,  nor  must  it  be  neutralized  by 
this.  Somewhat  related  to  this  is  a  scheme  of  planes  of 
lights. 

To  produce  such  planes  more  than  the  usual  borders 
of  lights  will  be  needed.  Each  should  project  its  rays 
almost  vertically  downward.  Shadows  should  be  neutral- 
ized by  strong  rays  from  both  right  and  left,  I  have  seen 
some  models — but  never  stages  themselves — ingeniously 
devised  with  lights  sunk  in  troughs,  or  concealed  behind 
low  platforms,  or  profiles,  to  produce  similar  planes  of 
lights.  These  planes  extending  across  stage  parallel  to 
the  footlights  may  merely  be  planes  of  different  intensities, 
or  they  may  be  planes  of  different  colors.  If  the  first — 
different  intensities — they  may  be  used  in  relation  to  the 
emotional  phases  of  the  action  to  emphasize  it.  If  so  used, 
many  rehearsals  will  have  to  be  conducted  in  this  lighting, 
for  characters  will  have  to  learn  exactly  where  to  stand.  If 
different  colors  form  the  planes,  the  lighting  will  add  to 


172      PRODUCING  IN  LITTLE  THEATERS 

the  pictorial  effect.  Such  a  scheme — to  give  only  one  in- 
stance— might  be  followed  for  the  first  scene  of  The  Harlem 
quinade  by  Dion  Calthrop  and  Granville  Barker,  repre- 
senting the  banks  of  the  Styx.  The  back  drop  or  cyclo- 
rama  could  be  bathed  in  the  coldest,  most  mysterious  blue, 
with  suggestions  of  vertical  shafts  of  other  colored  lights, 
to  indicate  vast  depths  below.  The  rugged  rock  profiles 
and  the  bare  trees  might  be  colored  brown  and  dead  gray. 
Just  in  front  of  this  there  might  be  a  pink  section.  Then 
as  characters  advanced  through  this  the  audience  would 
get  just  a  hint  of  that  ruddiness  which  we  all  associate 
with  the  underworld.  Near  the  front  an  amber  zone  would 
give  the  air  of  reality  in  which  the  philosopher,  newly  ar- 
rived from  earth,  might  stand,  and  into  which  the  deities 
might  pass  as  they  decide  to  leave  the  dwellings  of  the 
dead  to  come  to  this  world.  When  Mercury  appears  bril- 
liant rays  from  a  baby  spot-light  should  be  thrown  full 
upon  him  to  emphasize  this  brilliance. 

Amateurs  have  only  begun  to  sound  the  possibilities  of 
lighting.  They  are  usually  handicapped  by  lack  of  space, 
equipment,  means.  But  they  are  making  progress  in  spite 
of  many  drawbacks  and  mistakes. 

A  recently  exploited  field  is  the  emphasis  of  dramatic 
action  and  emotional  stress  by  a  play  of  lights.  Some- 
what this  same  attempt  has  been  made  in  connection  with 
music,  and  one  color  symphony  has  been  given  in  New 
York.  It  has  not  been  so  successful  in  musical  combina- 
tions, perhaps  because  the  sense  of  sight  has  never  been 
associated  with  appreciative  listening  to  music,  and  also 
because  people  are  not  agreed  upon  the  correspondence  of 


LIGHTING  173 

certain  tints  to  definite  notes.  In  drama  there  has  always 
been  the  association  of  ear  and  eye,  so  the  artistic  color 
manipulator  does  not  have  to  weld  together  the  two  senses. 
Generations  of  attendance  at  performances  have  already 
done  that  for  him.  We  laugh  at  the  crude  attempts  to  re- 
inforce dramatic  feeling  by  incidental  music  in  anything 
except  the  most  fantastic  drama.  We  shout  with  derisive 
glee  at  "  Eliza — crossing-the-ice  "  music,  but  we  have  not 
fused  into  drama  all  the  assistance  afforded  by  emotion- 
alized lighting.  Some  producers  have  made  attempts;  some 
have  achieved  successes,  others  have  perpetrated  disheart- 
ening mistakes. 

In  a  Greek  tragedy  suddenly  to  shift  the  color  upon  the 
stage  from  amber  to  red  because  the  characters  begin  to 
discuss  war  is  to  jolt  the  sensibilities,  rather  than  to  re- 
inforce them.  It  would  be  Just  as  consistent  to  tinge  every 
sentimental  passage  with  violet  or  pink  tints.  Then,  to 
heighten  effects  there  must  be  an  observance  of  that  other 
essential  principle — contrast.  An  art-director  will  do  well 
to  pause  long  enough  to  consider  all  possibilities  before 
choosing  one.  Will  the  darkening  effect  of  red  be  the  best 
medium  to  accompany  the  effects  of  battle,  murder,  and 
sudden  death?  Might  not  the  revealing  coldness  of  full 
white  sunlight  do  it  better?  Did  Charles  Rann  Kennedy 
succeed  with  this  intention  at  the  conclusion  of  The  Terrible 
Meek?  Evidently,  there  must  always  be  the  appropriate 
adjustment  of  means  to  ends.  While  color  is  one  of  the 
most  fascinating  elements  of  a  theatrical  production  to 
experiment  with,  it  should  be  understood  that  its  use  must 
depend  upon  long  and  careful   and   appreciative  experi- 


174     PRODUCING  IN  LITTLE  THEATERS 

mentation.  Distance,  shadows,  basic  color  of  scenery,  cos- 
tumes, movements  of  performers,  feeling,  situation,  make- 
up; any  single  one  of  these  may  spoil  the  result  of  long 
calculated  combinations.  The  general  use  of  amber  on 
the  stage  has  changed  making-up  to  look  natural  under 
the  newer  medium. 

Even  professional  producers  sometimes  make  glaring 
blunders  in  dealing  with  lighting  matters  affecting  their  per- 
formers. Upon  a  stage  containing  a  large  number  of 
women  one  director  threw  a  peculiar  green  light,  turning 
his  attractive  looking  company  into  a  sickly,  jaundiced 
hospital  ward.  A  long  list  of  such  errors  can  be  made  by 
any  observant  playgoer.  There  are  the  countless  scenes 
in  which  sunlight  pours  in  at  rear  windows,  yet  all  the 
shadows  of  persons  are  cast  back  into  the  teeth  of  the 
brilliant  sunlight  by  the  more  brilliant  footlights.  There 
are  the  glowing  fireplaces  before  which  sentimental  scenes 
are  played,  yet  which  never  by  any  chance  cast  a  shadow 
out  into  the  room.  There  are  the  stormy  pitch  black 
nights  which  magically  clear  into  the  glorious  light  of 
day  before  you  can  say  "  Jack  Robinson,"  as  in  the  last 
act  of  Miss  Nelly  of  N'Orleans.  There  are  the  elaborate 
center  clusters  in  drawing  rooms  which  never  throw  a 
shadow  upon  the  floor,  although  nowhere  on  the  stage  is 
there  the  slightest  indication  of  any  other  lights  to  neutral- 
ize them.  Because  of  this,  many  designers  of  interiors  use 
wall  brackets  placed  so  that  they  naturally  destroy 
shadows.  In  fact,  in  most  professional  productions,  all 
shadows  are  avoided  as  taints.  One  was  used  to  good 
effect  in  the  cell  in  Justice  by  Galsworthy,  but  this  was  on 


LIGHTING  175 

a  very  small  stage.  There  is  a  good  reason  behind  this 
professional  fear  of  them.  Distances  on  the  regular  stage 
are  so  great  that  any  shadow  of  a  person  swells  to  enor- 
mous size  before  it  is  cast  upon  a  surface.  The  very  at- 
tempt to  secure  a  natural  shadow  would  inject  a  gigantic 
spot  detracting  from  the  character  itself.  Lady  Gregory 
in  a  letter  to  W.  B.  Yeats  commented  on  exactly  such  a 
circumstance.  Of  a  production  of  his  play  The  Shadowy 
Waters  she  wrote  that  the  only  vexing  part  was  a  war- 
rior's helmet,  which  bore  immense  horns.  The  black 
shadow  thrown  down  from  these,  every  time  he  moved, 
produced  the  impression  that  a  black  goat  was  going  to 
lunge  at  him  from  the  side  of  the  ship.  Only  within  re- 
stricted limits  can  visible  shadows  be  allowed.  The  small 
stage  of  amateurs  need  not  observe  this  rule  as  strictly. 
With  its  restricted  size  shadows  bear  more  nearly  the  same 
relation  to  objects  that  they  do  in  actualness.  This  gives 
to  the  little  theater  a  chance  for  effects  almost  impossible 
upon  larger  scenes. 

The  risks  attendant  upon  manipulation  of  lighting  are 
omnipresent,  but  the  exultation  resulting  from  a  telling 
stroke  o'erweighs  all  the  disappointments. 


CHAPTER  X 
EXPERIMENTING 

The  word  "  experimental  "  has  come  to  be  associated 
closely  with  all  amateur  acting  organizations,  but  the  term 
is  quite  as  fittingly  applied  to  most  commercial  producers. 
The  fundamental  principle  of  all  dramatic  production  is 
experimentation.  Every  new  play  is  an  experiment.  Natu- 
rally, as  business  managers  are  in  theatrical  enterprises 
for  something  different  from  pleasure  and  health,  they 
try  to  reduce  to  its  lowest  degree  the  risk  attendant  upon 
such  experimentation,  and  to  increase  the  certainty  of  finan- 
cial return  by  depending  upon  all  that  can  be  made  stable 
in  the  theater.  Every  play  is  bound  to  be  an  experiment, 
a  risk;  therefore,  concludes  the  regular  metropolitan  owner, 
let  us  get  into  its  production  many  elements  which  are 
not  experimental  or  risky.  Let  us  use  tried  and  sure  per- 
formers who  have  proven  that  they  can  hold  and  interest 
large  audiences;  let  us  use  in  stage  design,  color,  manage- 
ment, those  methods  which  have  always  "  worked "  be- 
fore; let  us  follow  the  line  of  least  resistance  in  costumes 
and  lighting;  let  us  never  startle  the  passive  receptivity 
of  patrons  who  come  to  theaters  for  the  same  kind  of 
thing  year  after  year,  and  who  will  be  actively  resentful 
if  they  do  not  find  what  they  want. 

Yet  novelty  will  attract  as  well  as  monotony,  and  to 
its  credit  the  regxilar  theatrical  world  presents  many  signal 

176 


EXPERIMENTING  177 

instances  of  daring  and  popular  innovations.  Arthur  Hop- 
kins was  experimenting  when  he  offered  Gorky's  A  Night's 
Lodging  and  Benelli's  The  Jest;  so  was  Granville  Barker 
when  he  produced  Shaw's  Androcles  and  the  Lion,  so  was 
Mr.  Faversham  when  he  arranged  an  all-star  cast  for  Get- 
ting Married,  so  was  Oscar  Asche  when  he  started  Chu  Chin 
Chow;  so  was  Max  Reinhardt  when  he  conceived  Sumurum; 
so  was  Walter  Hampden  when  he  began  a  series  of  extra 
matinees  of  Hamlet  in  an  entirely  new  kind  of  adaptable 
scenery;  so  was  John  Drinkwater  when  he  challenged  the 
supposed  general  public  indifference  to  history  and  offered 
in  England  a  chronicle  play  dealing  with  an  American 
president. 

Amateurs  have  the  immeasurable  superiority  because  they 
can  experiment  more  frequently,  in  more  different  ways 
and  with  more  daring  and  successful  originality.  Mak- 
ing, usually,  no  pretense  to  competition  with  professional 
houses,  striving  not  to  attract  the  public  but  a  public,  hav- 
ing less  money  invested,  being  under  no  obligations  of  pay- 
ing large  dividends,  never  concerned  with  a  play  or  a 
method  for  a  long  time;  original,  daring,  spontaneous,  and 
enthusiastic,  they  can  make  a  score  of  unusual  experi- 
ments to  every  one  of  the  regular  stage.  When  amateurs 
become  signally  successful  with  any  one  element  of  ex- 
perimentation that  detail  becomes  part  of  the  regular  equip- 
ment of  the  commercial  theater. 

Every  worker  with  things  theatrical  has  tucked  back 
somewhere  in  his  consciousness  a  few  things  he  should  like 
to  do,  or  see  done,  a  few  definite  ideas  he  should  like  to 
have  carried  out.    And  since  in  amateur  groups  the  organ- 


178      PRODUCING  IN  LITTLE  THEATERS 

ization  by  committees  usually  checks  or  curbs  autocratic 
rule  and  plan,  he  frequently  envies  those  professional  pro- 
ducers whose  single  autocratic  word  is  law.  In  the  next 
breath,  however,  he  will  admit  readily  enough,  that  if  any 
mar  dependent  upon  public  support  were  to  carry  out  his 
own  personal  plans  or  ideas,  he  would  land  certainly  in 
bankruptcy,  perhaps  also  in  a  sanatorium.  Reports  do 
filter  through  at  times  of  seemingly  ideal  arrangements  in 
which  the  strangest  plans  are  put  into  operation.  If  they 
are  as  far  away  as  Florence  or  Moscow  they  have  all  the 
romantic  charm  of  distance — and  immunity  from  critical 
scrutiny 

Some  desires  are  not  beyond  easy  fulfilment  and  gen- 
eral response.  I  may  be  quite  mistaken  in  this  view,  but 
I  always  conceive  the  audiences  of  little  theaters  as  keenly 
interested  in  the  materials  and  methods  of  productions  as 
well  as  in  the  finished  plays  themselves.  As  the  inevitable 
corollary  of  that  premise  I  conceive  that  all  little  theater 
groups  are  continually  advancing  in  all  the  elements  of 
theatric  art.  Certainly  with  that  gradual  or  accelerated 
change  there  goes  some  educating  influence,  or  sharpening 
of  critical  acumen,  a  deepening,  penetration  of  insight, 
or  a  widening  sympathy  of  comprehension.  A  sensitive 
appreciation  of  this  change  in  the  audience  has  already 
been  listed  as  one  of  the  most  desirable  qualities  of  a  di- 
rector. And  when  some  member  of  long  standing  laments 
the  good  old  days  when  ''  we  used  to  act  in  Maguire's  studio 
before  a  lot  of  screens  and  think  we  were  doing  great 
things,"  one  can  merely  agree  with  him,  for  he  is  right  in 
his  reminiscence.     But  if  any  stage  setting  now  shows  an 


EXPERIMENTING  179 

unwieldy  bulk  of  mass,  or  if  the  dimmer  jumps  down  too 
jerkily,  that  same  elderly  recounter  of  the  good  old  times 
will  be  the  loudest  in  demanding  what  the  productions 
committee  means  by  offering  stuff  which  would  not  be 
tolerated  even  in  the  commercial  theater. 

The  device  of  grouping  a  series  of  one-act  plays  around 
a  single  idea  is  one  which  should  be  easiest  to  realize  and 
make  acceptable  in  experiment.  Some  suggestions  of  this 
have  been  given  already — the  Washington  Square  Players 
gave  a  bill  of  comedies  of  different  nationalities.  It  would 
be  interesting  to  arrange  a  "  lover "  bill.  It  might  be 
opened  with  The  Constant  Lover  by  St.  John  Hankin  in  as 
realistic  a  setting  as  the  artists  could  devise.  I  do  not  be- 
lieve this  humorous  dialogue  gains  by  being  surrounded 
by  bizarre  forests  or  Bakst  back-drops.  Its  dainty  charm 
is  in  its  contrast  between  the  reality  of  usual  life  and  the 
outrageous  logic  of  the  lover.  After  this  might  be  pre- 
sented The  Magnanimous  Lover  by  St,  John  Ervine,  set 
and  acted  in  as  realistic  a  manner  as  possible.  If  possible, 
it  should  be  so  acted  as  to  bite  deeply  into  the  conscious- 
ness of  the  auditors  as  acid  bites  into  an  etcher's  plate. 
Having  twice  used  realism  of  setting,  the  next  should  fling 
all  usual  appearances  to  the  winds,  for  the  designer  should 
be  directed  to  let  his  fancy  construct  whatever  it  would 
to  surround  The  Honorable  Lover  by  Roberto  Bracco. 
Then  the  performers  should  be  trained  to  breathless  speed 
of  action,  and  heightened  exaggeration  of  type.  The  more 
bizarre  these  three  elements  of  the  performance  could  be 
made  the  better.  But — and  this  is  important  for  the  idea 
— the  costumes  of  the  performers  in  this  rast  should  be 


i8o     PRODUCING  IN  LITTLE  THEATERS 

kept  quite  within  the  range  of  fashionable  probability. 
While  both  surprise  and  exaggeration  are  legitimate  means 
of  comedy  and  humor,  incongruity  is  a  more  potent  one. 
Therefore  in  this  play  the  incongruity  would  be  height- 
ened by  keeping  one  factor  constant  to  ordinary  experi- 
ence. I  mention  this  especially  here  because  I  heard  of 
,one  production  of  Food  by  William  C.  DeMille  in  which 
the  tired  business  man  whose  wife  takes  from  the  safe 
their  treasures — a  cracker  and  four  drops  of  milk  was 
dressed  somewhat  in  the  extreme  fashion  of  a  futurist. 
He  wore  tan  shoes,  white  spats,  brown,  narrow  trousers, 
soft  pink  shirt  and  collar,  light  olive-green  coat  which  was 
buttoned  with  one  button  at  the  waist  and  which  was  very 
tight  in  its  fit  and  long  and  full  in  the  skirt.  His  tie  was 
soft  green  satin  to  match  the  green  of  his  straw  hat,  while 
the  most  delicate  shade  of  pink  circled  the  hat.  He  wore 
his  hair  well  marcelled;  and  he  carried  yellow  gloves  and 
yellow  cane.  His  wife  wore  a  mandarin  coat  of  black  taf- 
feta covered  with  black  jet  and  white  glass  beads  worked 
iu  the  most  intricate  fashions  and  patterns.  Her  trousers 
were  of  black  taffeta  with  large  full  puffs  and  circled  with 
bands  of  brilliants,  between  the  puffs.  Dainty  black  satin 
slippers  and  hose  and  a  black  headdress  with  much  lace 
and  many  brilliants,  completed  her  attire. 

Such  decoration  may  be  picturesque,  but  I  believe  it 
does  not  help  at  all  the  idea  of  the  satire.  The  average 
spectator  seeing  such  fantastic  costumes  would  say  to  him- 
self, "  Well,  there's  nothing  funny  about  that  play.  If 
the  day  ever  comes  when  sensible  people  dress  like  that, 
they  will  deserve  to  have  no  food." 


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Above :     The  Locked  Chest,  by  John  Masefield.     The 
Little  Theater,  Denver. 


Below :      The   Bear,   by    Anton    Tchekoff. 
Players,  New  York. 


Stuyvesant 


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signitl   by    Minna    Hnrwitz.      The    Playhouse,    Cleveland. 


EXPERIMENTING  i8i 

One  member  of  a  committee  suggested  that  there  be 
produced  a  three-act  play  which  had  failed  on  the  pro- 
fessional stage  because  of  its  last  act,  to  let  the  audience 
see  and  judge  just  what  was  wrong  with  the  material. 
This  would  have  been  interesting  for  those  persons  study- 
ing play  construction,  but  it  was  felt  that  to  announce  for 
performance  a  play  already  known  as  a  failure  only  to 
get  a  negative  response  from  the  last  part  would  be  taxing 
the  generous  natures  of  the  hundreds  in  the  audience  to 
the  breaking  point.  Yet  some  such  scheme  could  easily  be 
carried  into  performance. 

To  provide  an  evening  of  contrast  in  stage  decoration 
and  acting  a  director  might  try  to  do  what  Evreinov — 
author  of  The  Theater  of  the  Soul — did  at  his  Parody 
Theater  in  Petrograd.  Because  this  playhouse  is  a 
"  parody  "  theater  and  also  because  he  could  pierce  the 
pretentiousness  of  so  many  impracticable  reformers  of  the 
theater,  this  original  author  produced  the  first  act  of  the 
best-known  Russian  comedy,  The  Inspector-General  by 
Gogol,  several  times  in  one  evening  in  the  different  styles 
of  modern  stage  production.  Two  of  the  models  he  used 
were  the  Art  Theater  of  Moscow,  and  the  teachings  of 
Gordon  Craig.  I  believe  it  would  be  possible  to  hold  an 
audience  through  an  evening  with  a  similar  bill  based  on 
some  familiar  English  or  American  play.  Perhaps  a  scene 
from  Shakespeare  would  do  as  well  as  anything  else.  It 
might  be  done  with  historical  fidelity  as  far  as  that  could 
be  attained.  It  could  be  done  after  the  scrappy  barnstorm- 
ing methods  of  thirty  years  ago.  It  might  be  done  stylis- 
tically as  were  Twelfth  Night  and  A  Midsummer  Night's 


1 82      PRODUCING  IN  LITTLE  THEATERS 

Dream  by  Granville  Barker,  or  in  a  framed  setting  as  were 
Mr.  Hampden's  Hamlet,  Mr.  Sothern's  Twelfth  Night,  Mr. 
Barrymore's  Richard  III.  This  experiment  would  be  at- 
tractive only,  I  believe,  for  extremely  unsophisticated  au- 
diences or  for  those  highly  trained  by  theater  attendance. 

Whenever  I  hear  that  a  dramatist  has  changed  a  play 
fundamentally  I  wish  I  could  have  seen  both  versions. 
For  instance,  I  should  like  to  have  seen  Booth  Tarking- 
ton's  Poldekin  when  the  protagonist  died  in  the  last  act, 
then  again  after  the  author  had  decided  to  let  Mr,  Arliss 
live.  I  should  like  to  see  the  happy  ending  (made  for 
Germany)  of  Ibsen's  A  Doll's  House.  In  this  Nora  at  the 
last  moment  is  restrained  by  the  thought  of  her  children 
from  leaving  her  home  and  husband.  I  should  like  to  see 
Goethe's  Stella  with  its  different  endings.  In  every  per- 
formance of  Hamlet  I  am  never  satisfied  until  I  see 
whether  the  curtain  is  coming  down  on  the  Prince  of  Den- 
mark dead  upon  the  floor,  seated  upon  the  throne,  or  being 
borne  out  to  the  platform  by  the  soldiers  of  Fortinbras. 
I  was  extremely  interested,  although  keenly  disappointed, 
at  Eugene  O'NeiU's  Beyond  the  Horizon  on  the  stage,  with 
its  omission  from  Act  I  of  a  long  conversation  between 
son  and  father,  and  its  peculiar  conclusion,  so  different  from 
the  published  version. 

Only  under  most  unusual  conditions  could  one  produce 
a  long  play  and  give  its  two  conclusions  on  the  same  eve- 
ning. But  somewhat  the  same  impression  may  be  made 
by  showing  the  same  or  similar  themes  differently  treated. 
When  I  first  paged  through  Polti's  thirty-six  dramatic 
situations  I  wondered  whether  it  would  be  possible  to  find 


EXPERIMENTING  183 

a  few  plays  clearly  illustrating  different  handlings  of  the 
same  theme.  The  complications  would  be  endless  because 
seldom  does  any  play,  even  a  short  one,  deal  with  un- 
mixed motives.  Then  I  learned  of  the  inclusion  in  a  single 
bill  of  three  plays  dealing  with  the  same  theme,  the  thirty- 
second  situation,  mistaken  jealousy.  Stated  a  little  more 
comprehensively,  the  theme  is  the  woman  suspected  un- 
justly. Julian  Thompson  has  written  three  one-act  plays 
dealing  with  this  situation  and  the  theme  growing  out  of 
it.  The  first.  How  Very  Shocking,  is  comedy;  the  second, 
Aljeth  is  tragedy,  the  third  The  Warrior's  Husband  is 
farce. 

If  a  director  felt  that  his  audience  had  arrived  at  the 
level  where  it  would  be  interested  in  acting  above  all  else 
he  might  stage  the  following  experiment.  After  a  couple 
of  evenings  of  "  talky  "  modern  plays,  say  by  Oscar  Wilde 
or  G.  Bernard  Shaw  or  Galsworthy  or  Brieux,  he  could 
prepare  for  performance  just  before  Christmas  time  some 
unusual  pantomime.  The  accompanying  music  should 
prove  a  novelty,  so  should  the  stage  sets,  for  they  should 
be  made  as  brilliant  and  picturesque  as  possible.  The 
first  of  these,  Pierrot's  Christmas  by  Beissier  and  Monti 
should  be  offered  as  close  to  the  holiday  date  as  possible. 
In  it  all  efforts  should  be  concentrated  on  the  homely  sen- 
timent of  the  story,  the  contrast  of  irate  husband  and  ten- 
der-hearted wife,  the  appeal  of  helpless  childhood  and  the 
melting  of  the  old  man's  resentment.  If  the  audience  could 
stand  two  pantomimes,  after  its  reception  there  should  be 
announced  the  second  offering,  though  an  effort  should 
be  made  to  keep  secret  the  fact  that  it  too  is  purely  panto- 


1 84     PRODUCING  IN  LITTLE  THEATERS 

mime.  In  some  sections  of  this  country,  I  believe,  this 
would  be  possible,  especially  if  the  title  last  used  in  New 
York  were  given  instead  of  the  original  one.  This  panto- 
mime would  be  Pierre  the  Prodigal,  which  under  its  right- 
ful name,  L'Enfant  Prodigue,  enthralled  our  parents.  Quite 
a  different  sort  of  pantomime,  permitting  more  original 
treatment  than  either  of  the  preceding — awakening  interest 
because  of  its  music  also,  is  The  Box  oj  Toys  by  De  Bussy, 
in  three  scenes.  While  the  first  of  these  is  childlike  and 
old-fashioned,  the  second  is  smart  and  risky,  the  third  is 
angular  and  eccentric.  One  suits  the  Christmas  spirit,  the 
other  seems  like  the  proverbial  fling  with  which  most  per- 
sons like  to  greet  a  New  Year.  Both  are  appeals  to  the 
eye  and  ear,  and  beautifully  acted,  as  they  should  and  could 
be  done,  the  pair  would  constitute  a  welcome  experiment 
in  the  little  theater. 

Having  introduced  long  plays  let  us  continue  with  the 
list  of  experiments.  Every  once  in  a  half  century  some 
rumor  starts  that  The  Silent  Woman  by  Ben  Jonson  is  to 
reach  the  commercial  stage.  At  once  spring  into  life  dis- 
cussions as  to  Elizabethan  settings  or  modern  realism.  It 
would  be  interesting  to  see  whether  such  an  old  play  with  a 
reputation  for  cleverness  can  justify  itself  by  production 
now.  Therefore  I  should  like  to  see  this  farce-comedy  pre- 
sented with  all  the  care  and  equipment  expended  upon  a 
contemporaneous  play  of  the  same  class.  The  material 
should  make  its  appeal  on  its  intrinsic  merit.  There  should 
be  added  no  antiquarian  interest  from  setting,  or  from  a 
selected  audience  of  college  drama  students.  It  should  be 
tried  before  the  regular  iittle  theater  auditors.    I  believe  a 


EXPERIMENTING  185 

careful  presentation  would  be  more  than  slightly  interest- 
ing; I  believe  it  would  be  entertaining,  far  more  genuinely 
entertaining,  by  the  way,  than  the  revival  of  Gammer  Gur- 
ton's  Needle. 

There  is  another  division  of  Ben  Jonson's  output  which 
has  always  attracted  me.  Once  I  fondly  believed  I  was 
going  to  have  my  curiosity  satisfied  and  my  imagination 
stirred.  At  one  of  the  incongruous  programs  devised  in 
19 1 6  to  celebrate  the  fame  of  Shakespeare,  upon  which  as 
usual  appeared  nothing  which  the  great  dramatist  wrote, 
was  included  one  of  Jonson's  masques.  I  anticipated  a  de- 
light for  my  ear  and  my  eye  as  indicated  by  Jonson's  own 
descriptions  of  his  stage  settings  and  changes. 

The  scene  to  this  Masque  was  a  high,  steep,  red 
cliff,  advancing  itself  into  the  clouds.  .  .  .  Before 
which  on  the  two  sides  were  two  pilasters,  charged 
with  spoils  and  trophies  of  Love  and  his  Mother.  .  .  . 
All  which  with  the  pillars,  seemed  to  be  of  burnished 
gold,  and  embossed  out  of  the  metal.  ...  At  which 
with  a  loud  and  full  music,  the  cliff  parted  in  the  midst, 
and  discovered  an  illustrious  concave,  filled  with  an 
ample  and  glistering  light,  in  which  an  artificial  sphere 
was  made  of  silver,  eighteen  feet  in  diameter,  that 
turned  perpetually.  .  .  .  Only  the  zodiac  was  of  pure 
gold,  in  which  the  masquers,  under  the  characters  of 
the  twelve  signs,  were  placed. 

What  was  offered  was  the  delivery  of  the  lines  and  some 
dances  upon  a  flat  greensward  with  never  a  sign  of  scen- 
ery.   In  fact,  there  was  no  masque  attempted. 

It  might  not  be  wise  to  choose  this  same  masque,  but 


i86     PRODUCING  IN  LITTLE  THEATERS 

there  are  more  than  one  to  serve  the  end.  Upon  it  there 
should  be  lavished  every  resource  of  modern  knowledge  to 
clothe  the  lines  and  situations  appropriately,  which  in  a 
masque,  means  elaborately.  Just  picture  in  your  mind's  eye 
the  gorgeous  stage  changes  allowable  in  such  mythological 
material  as  Jonson  worked  in.  If  it  were  possible  to  have 
for  this  performance  only  a  small  audience,  and  the  floor 
could  be  cleared  for  the  final  general  dancing,  the  attempt 
might  be  made  to  induce  every  spectator  to  come  dressed 
in  a  Jacobean  court  costume  so  that  historical  accuracy 
might  be  reproduced  up  to  the  last  minute.  Lacking  that, 
several  court  gentlemen  and  ladies  should  be  introduced 
upon  the  stage  from  the  audience  to  complete  the  masque 
idea  of  a  general  dance. 

Before  leaving  the  Elizabethan  period  I  should  like  to 
suggest  Marlowe's  Doctor  Faustus  for  experiment.  I  do 
not  believe  there  would  be  much  value  in  a  production  in 
the  so-called  (but  not  correctly  called)  Elizabethan  man- 
ner. To  a  great  extent  this  experimental  production  should 
depend  for  effect  on  lighting  and  scenery.  The  archaic 
should  be  minimized.  The  supernatural  should  be  inter- 
preted as  closely  as  possible  according  to  modern  precon- 
ceptions likely  shared  by  members  of  the  audience.  The 
drama  should  be  emphasized,  for  I  believe  that  behind  the 
boldness  of  Marlowe's  spiritual  conceptions,  the  crudity  of 
some  of  his  theatric  devices,  and  the  beauty  of  his  verse, 
there  is  effective  drama  which  would  come  through. 

When  one  speaks  of  poetic  drama  we  naturally  think  of 
the  Elizabethan  period  only.  It  is  a  fact  that  a  few  other 
ages  produced  worthy  drama  in  great  poetry,  though  few 


EXPERIMENTING  187 

of  the  plays  ever  reached  the  stage.  Recently  an  exhibi- 
tion of  stage  models  included  one  designed  for  The  Cenci 
by  Shelley.  My  idea  would  not  be  to  produce  this  play  as 
this  designer  intends  it — from  a  small  raised  platform  with 
the  audience  all  around  it.  There  should  be  used  the  regu- 
lar stage  for  which  Shelley  wrote  the  play.  It  could  be 
excellently  done.  A  great  deal  of  the  revolting  horror  of 
the  story  would  be  toned  down  by  the  romantic  attractive- 
ness of  Beatrice,  the  patent  villainy  of  her  father,  and  the 
remoteness  in  time  and  place  of  the  incidents.  To  insure 
its  being  received  with  sympathetic  appreciation  there 
should  be  a  cultured  and  sophisticated  audience. 

Another  tense  play  which  should  prove  as  interesting 
an  experiment  for  other  little  theaters  as  it  was  for  the  47 
Workshop  at  Harvard  is  Eyvind  of  the  Hills  by  Sigur- 
jonsson.  This  unusual  tragedy  of  so  distant  a  land  as  Ice- 
land begins  in  joy  and  animation,  in  merrymaking  and 
crowds,  and  narrows  as  it  increases  in  intensity  and  deep- 
ens in  force  until  only  two  characters  are  left  to  face  a 
slow,  horrible  death  by  freezing  or  starvation  in  a  mountain 
blizzard.  To  the  art  director  there  would  be  the  problem 
of  devising  novel  stage  pictures  and  convincing  mechanical 
effects.  To  strike  the  correct  note  of  unusualness  in  the 
buildings,  for  instance,  without  so  overstressing  it  that  at- 
tention would  be  diverted  from  the  human  crisis,  would 
require  a  delicate  solution  of  contending  claims  and  lures. 
There  is  no  need  to  emphasize  the  difficulty  of  the  acting 
in  such  a  play.  Is  there  not  the  same  difficulty  in  ade- 
quately acting  an  Ibsen  tragedy?  While  every  Ibsen  story 
makes  its  primary  appeal  because  of  its  universal  elements. 


1 88      PRODUCING  IN  LITTLE  THEATERS 

do  we  not  expect,  almost  demand,  of  the  interpreters,  some 
unusualness,  some  slight  traces  of  a  realistic  reproduction 
of  Scandinavian  environment  which  shall  continually  build 
a  frame,  as  it  might  be  termed,  around  the  picture?  Would 
the  more  somber  of  the  Ibsen  series  be  quite  as  effective  if 
the  names  of  the  persons  were  changed  to  ordinary  Amer- 
ican ones,  if  the  furniture  eschewed  all  the  northern  touches, 
and  if  the  locale  was  naturalized?  Some  connotative 
flavor — too  evanescent  to  grasp  at  all  times,  yet  sensible  as 
a  contributing  detail  of  value — would  vanish  from  the 
drama.  Because  of  the  delicate  adjustment  of  familiar  and 
unfamiliar  required  to  lull  active  resentment  yet  to  arouse 
responsive  curiosity,  such  a  tragedy  as  this  calls  for  intelli- 
gent experimentation.  So  likewise,  though  not  to  any- 
thing like  the  same  degree,  is  there  the  experimental  ap- 
peal in  Hadda  Padda  by  Kamban.  This  presents  just  these 
same  elements  as  Eyvind  of  the  Hills,  only  here  the  stage 
requirements  are  not  for  such  incidental  reinforcements 
to  the  acting  as  a  mountain  snow  storm,  but  a  seemingly 
impossible  setting  for  the  last  act  of  mountain  ledges  over- 
looking a  deep  gully  in  the  unseen  depths  of  which  the 
moving  conclusion  takes  place.  In  both  these  the  experi- 
mental lure  is  provided  by  the  intriguing  combination  of 
realism — and  for  us  in  this  country — romance. 

The  realistic  phase  of  these  two  dramas  links  them  with 
another  play  which  has  never  been  given  quite  enough 
chance  by  the  professional  theater.  Its  author,  B.  Mac- 
donald  Hastings,  has  written  a  few  distinctive  dramas. 
Contrary  to  the  axiom  of  the  commercial  stage,  that  a 
play  must  have  a  feminine  appeal,  there  are  strong  themes 


EXPERIMENTING  189 

based  on  the  reactions  of  men.  When  The  New  Sin  was 
tried  first  in  America,  the  dictum  was  pronounced  that  a 
woman  must  be  worked  into  the  cast  by  some  means.  So 
the  cast  was  changed  and  a  woman's  role  was  written  in. 
An  intelligent  experimenting  director  might  take  that  drama 
in  its  original  all-men  form,  and  by  sincere,  modern  meth- 
ods of  acting  and  producing,  develop  it  into  a  poignant 
illustration  of  the  modern  thesis  play  with  a  flash-back  at 
sociological  analysis.  It  is  one  of  the  best  examples  of  the 
indeterminate  ending  ever  penned.  It  is  one  of  the  most 
vivid  expositions  of  the  nut-cracker  metaphor  of  Fate.  It 
will  repay  from  the  production  viewpoint  any  energy  ex- 
pended upon  it;  I  believe,  also  that  it  will  repay  the  au- 
dience in  stimulating  emotional  as  well  as  celebral  reac- 
tion. 

Carrying  the  possibility  of  social  or  moral  analysis  fur- 
ther, seeking  for  ever  a  stronger  thrill  of  the  indignant  re- 
volt, a  director  might — he  would  be  a  hardy  one — offer  one 
production  of  War  by  Artzibascheff.  Such  an  experiment 
would  of  necessity  have  to  be  linked  with  definite  anti- 
militaristic propaganda.  No  acting  organization  merely 
providing  dramatic  material  for  its  special  audience  could 
expect  to  weather  such  a  terror  without  disaster.  But  what 
a  success  could  be  made  of  a  public  view  to  such  a  preach- 
ment just  at  a  time,  perhaps,  when  jingo  spirit  was  begin- 
ning to  rise.  It  would  have  to  be  at  the  very  beginning, 
for  delayed  just  a  little  too  long  it  would  either  be  as  in- 
effective as  was  Mr.  Galsworthy's  The  Mob,  or  like  the  hero 
of  that  anti-Boer-War  document,  it  would  only  serve  to 
madden  the  blood  of  the  hysterical  warriors. 


190      PRODUCING  IN  LITTLE  THEATERS 

The  charge  has  often  been  made  that  exponents  of  the 
little  theater  idea  have  tended  to  become  too  serious.  Many 
a  well-intentioned  plan  has  disintegrated  because  of  a  con- 
founding of  excellence  with  tragedy,  a  mistaken  linking  of 
impressiveness  with  gloom.  Intellectual  superiority  is  not 
always  synonymous  with  Russian  or  Scandinavian  or  Greek 
tragedy.  Comedy  does  not  inevitably  connote  common- 
ness. Read  George  Meredith's  Essay  on  Comedy  and  The 
Uses  of  the  Comic  Spirit  for  the  standard  of  civilization  by 
means  of  its  comic  muse.  There  are  two  quite  apparent 
reasons  for  the  preponderance  of  lugubriousness  over  laugh- 
ter in  little  playhouses.  Good  comedy  is  difficult  to  find, 
and  once  discovered,  it  is  most  difficult  to  act.  After  all, 
civilization  is  sophistication,  and  sophistication  is  suspi- 
cious. 

For  the  sake  of  variety,  if  for  no  other  reason,  there 
must  be  light-heartedness  in  a  season  of  drama.  What  are 
some  of  the  things  with  which  to  experiment? 

There  is  no  inevitable  congruous  order  of  succession  for 
a  list  of  this  kind,  so  I  shall  set  them  down  in  the  degree 
of  their  uproarious  extravagance.  Assuming  still  that  the 
little  theater  audience  is  rather  more  than  less  sophisticated 
I  believe  a  good  experimental  novelty  would  be  Black-Eyed 
Susan  by  Douglas  Jerrold.  It  should  be  produced  wiih 
absolute  seriousness  and  innocence  by  the  cast,  and  while 
the  audience  would  rock  and  weep  tears  of  delight  at  the 
old-fashioned  "  drammer,"  the  actors  should  never  once  de- 
.scend  from  their  pedestals  of  ingenuous  purity,  nor  should 
they  fail  to  make  the  borders  ring  with  their  reverberate 
heroics.    A  few  years  ago  I  saw  The  Still  Alarm  acted  by 


EXPERIMENTING  191 

firemen  for  a  pension  fund,  but  with  its  audience  there 
were  detractions  from  the  fullest  immersions  of  unre- 
strained delight.  Rich,  rare,  and  racy  as  that  production 
was,  I  believe  Black-Eyed  Susan  would  be  almost  Aris- 
tophanic. 

To  appreciate  the  delicious  logic  of  a  reductio  ad  ab- 
surdum  propaganda  drama  I  do  not  believe  that  a  high  de- 
gree of  cultural  veneer  is  necessary.  Therefore,  all  dramas 
of  social  analysis  should  not  be  reserved  for  selected  au- 
diences only.  If  the  plot  be  quite  clear  in  the  laying  down 
of  its  antecedent  premises  and  flawless  in  the  deductions 
made  from  them  the  most  ordinary  mind  cannot  escape 
the  impression  of  their  inevitable  conclusion.  Therefore, 
a  director  could  count  upon  a  hearty  response  if  he  offered 
The  Fountain  by  George  Calderon. 

This  excellent  comedy  with  a  purpose  is  as  good  drama 
as  many  of  G.  Bernard  Shaw's  plays.  Among  the  qualities 
which  make  it  suitable  for  little  theaters  are  the  single  set, 
the  small  nucleus  of  a  cast  around  which  several  extras  may 
be  grouped,  the  marked  differentiation  of  characters,  and 
the  situations  which  almost  carry  themselves.  Best  of  all 
is  the  underlying  thought-provoking  idea  of  the  comedy. 
Intelligent  laughter  (see  George  Meredith  again)  should 
result  in  cogitation.  The  smiles  and  chuckles  aroused  by 
The  Fountain  will  produce  this  result.  In  essence  the 
plot  is  a  mathematical  demonstration  of  the  silliness  of  a 
creat  deal  of  modern  organized  charity  and  uplift  activity 
indulged  in  by  enthusiastic  sentimentalists  egged  on  by 
well-meaning  but  shallow  agitators.  In  hundreds  of  in- 
stances the  sums  spent  by  the  organizers  are  assessed  upon 


192      PRODUCING  IN  LITTLE  THEATERS 

the  poor  who  in  the  swing  of  the  circle  are  supposed  to 
benefit  from  the  manipulation  of  their  own  money  by  some 
one  else.  Being  an  effective  dramatist  Mr.  Calderon  does 
not  pretend  to  remedy  the  practice.  He  holds  his  mirror 
up  to  nature,  and  grimly  says,  "  This  is  what  you  are. 
Now,  what  are  you  going  to  do  about  it?  " 

Allen  Upward,  several  years  ago,  issued  in  book 
form,  a  play  called  Paradise  Found,  in  which,  also  with 
logical  precision,  is  shown  exactly  what  kind  of  world  we 
should  be  living  in  if  for  a  generation  or  so  all  the  reforming 
and  standardizing  improvements  of  Mr.  Shaw  should  be 
consistently  carried  into  practice.  For  the  best  reception 
of  this  parody  the  audience  should  be  steeped  in  as  much 
of  the  Shavian  philosophy  as  possible.  They  should  have 
seen  as  many  of  the  plays  as  could  have  been  presented 
during  several  seasons,  and  they  should  be  familiar  with 
all  the  dramatic  prefaces,  so-called  novels,  articles,  and  in- 
terviews issued  by  the  satirist  of  our  age.  Such  prepara- 
tion would  put  the  listener  on  the  alert  for  every  reference 
and  allusion  to  the  laws  advocated  by  the  present-day 
critic.  It  would  render  more  delicious  every  hit  registered 
by  every  detail  of  Mr.  Upward's  tribute.  Yet  such  com- 
plete familiarity  would  not  be  absolutely  necessary.  Any 
intelligent  person  would  catch  the  buffoonery  of  a  society 
in  which,  as  the  state  has  assumed  all  control  over  chil- 
dren, no  one  any  longer  has  a  name,  but  is  known  by  a 
catalogued  number  only.  Marriages  are  controlled  by  a 
department  of  the  state.  And  political  meetings  are  plainly 
— as  today  actually,  though  not  admittedly — presided  over 
by  mechanical  automata.    Some  directors  may  feel  that  the 


EXPERIMENTING  193 

scenic  investiture  and  technical  appliances  required  by  this 
play  render  it  unsuited  to  experiment;  other  directors  will 
see  in  those  very  elements  its  chief  fitness  as  experimental 
material. 

With  all  the  romanticism,  picturesqueness,  and  novelty 
which  may  be  added  to  the  foregoing,  they  are  all  still 
within  the  realm  of  actuality  and  are  strictly  in  the  regular 
dramatic  form.  Let  us  see  if  our  search  for  experimental 
material  cannot  be  extended  to  include  more  strange  as- 
pects, more  irregular  forms.  A  good  transition  is  afforded 
by  some  of  the  shorter  plays  of  M.  Maeterlinck,  in  which 
though  the  conversation  and  action  appear  to  stand  still, 
the  thought  itself  advances  to  climaxes  as  moving  as  any 
physical  demonstrations  can  ever  be.  So,  too,  some  of  the 
poetic  dramas  of  W.  B.  Yeats  provide  the  same  kind  of 
bridge  from  the  evidently  actual  to  the  invisibly  potent. 
Yet  unsubstantial  as  are  the  soul  planes  of  those  strange 
plays,  the  characters  do  speak  their  own  thoughts,  do  give 
expression  to  their  fluctuating  emotions.  Does  there  exist 
a  group  of  dramas  in  which,  not  only  is  the  progress  of 
thought  the  essence  of  the  action,  but  the  lines  themselves 
cease  to  be  the  spoken  deliveries  of  the  persons? 

The  best  approach  to  this  small  group  of  interesting 
experiments  is  through  Overtones  by  Alice  Gerstenberg. 
In  this  famous  play  are  shown  what  all  social  beings  really 
are,  the  overtones  of  their  true  selves.  Only  here,  in  com- 
pany with  the  overtones,  who  express  themselves  in  all 
ordinary  social  meetings,  are  shown  the  real  natures  of 
the  two  women,  and  under  the  social  insincerities  and  vapid 
compliments  of  the  overtones  are  spoken  the  bitter  and 


194     PRODUCING  IN  LITTLE  THEATERS 

true  sentiments  of  the  essential  persons.  So  many  groups 
have  already  experimented  interestedly  and  successfully 
with  this  that  they  should  be  able  to  pass  on  to  other 
specimens.  There  are  some  dozen  or  so  plays  in  which  the 
delivered  lines  are  not  the  speeches  of  the  characters,  but 
are  merely  their  thoughts  or  opinions,  delivered,  not  as 
spoken,  but  as  caught  fleeting  through  their  consciousness, 
and  as  overheard  by  the  omniscient  audience.  Unfortu- 
nately most  of  the  dramas  in  this  form  are  serious,  so  that 
it  might  be  difficult  to  secure  enough  variety  if  many  were 
included  upon  one  bill.  While  the  arrangement  of  an  en- 
tire evening's  offering  would  be  the  best  kind  of  experi- 
ment with  this  class,  some  repaying  results  could  be  se- 
cured from  occasional  inclusion. 

One  of  the  most  novel  is  Grotesques  by  Cloyd  Head.  Its 
drawback  is  that  its  idea  is  not  clearly  delineated,  its  lines 
do  not  crystallize  what  should  be  made  clearest,  so  that 
attention  must  be  centered  upon  the  method  of  production. 
Originally  it  was  conceived  as  a  moving  silhouetted  design 
of  white  figures  and  costumes  against  a  black  background, 
marked  by  a  definite  restricting  frame.  Experimental  pro- 
duction and  design  carried  it  beyond  any  point  its  lines 
and  theme  would  have  reached.  Some  of  the  Vistas  by 
William  Sharp  might  be  considered  capable  of  similar  treat- 
ment. The  only  comic  or  satiric  material  of  this  form 
which  I  know  is  The  Artist  by  H.  L.  Mencken.  As  origi- 
nally published  this  consisted  of  the  thoughts  and  half- 
conscious  emotions  of  the  janitor,  the  pianist,  and  the 
members  of  the  audience — including  the  music,  though  not 
musical  critics,  during  an  afternoon  concert.     With  lights 


EXPERIMENTING  195 

in  the  hall  turned  up,  and  only  the  janitor  and  soloist  ap- 
pearing on  the  stage,  while  all  the  other  characters  speak 
from  their  places  in  the  audience,  the  effect  is  one  of  un- 
canny reality  of  meditations  suddenly  becoming  audible. 
Another  original  theme  treated  in  exactly  the  same  method 
is  Orthodoxy  by  Nina  W.  Putnam.  For  this  I  am  afraid 
no  satisfactory  conditions  could  be  secured  for  even  re- 
hearsal, but  it  is  peculiar  even  if  not  practical  for  experi- 
mentation. By  far  the  most  pretentious  and  successful  of 
attempts  at  unusual  cast  and  locale  is  The  Theater  of  the 
Sold  by  N.  Evreinov,  described  by  its  author  as  a  mono- 
drama.  Before  the  lowered  curtain  appears  first  The 
Professor.  Upon  a  blackboard  this  prologue  explains  by 
means  of  algebraic  formulas  that  any  one  person  is  really 
represented  by  the  expression: — 

M^  4-  M^  -f-  M^  =  M,  the  entire  personality. 

Having  asserted  that  the  seat  of  the  soul  of  this  person- 
ality is  the  human  breast,  he  retires,  and  the  drawn  curtain 
shows  the  interior  of  the  human  soul.  Against  this  back- 
ground, in  planes  of  varied  lights  are  enacted  the  fleet- 
ing impressions,  thoughts,  reminiscences  of  a  man  in  the 
few  minutes  before  he  commits  suicide  by  shooting. 

Beyond  the  limits  suggested  by  the  considerations  in- 
cluded in  this  chapter  I  believe  few  authors  have  ven- 
tured. Yet  even  these  limits,  I  venture  to  say,  will  soon 
seem  restricted  by  the  seekers  after  novelty  of  material 
and  those  facile  innovators  of  bizarre  methods  in  theater 
craft.  Yet  the  physical  structure  of  playhouses  will  pre- 
scribe some  bounds.  So,  too,  will  the  receptivity  of  audi- 
ences.    Already  there  have  been  as  many  suggestions  of 


196      PRODUCING  IN  LITTLE  THEATERS 

change  in  theater  arts  as  there  have  been  proposed  amend- 
ments to  the  Constitution  of  the  United  States,  but  prac- 
ticableness  has  squelched  many.  The  Ubermarrionet  de- 
manded by  one  enthusiast  as  the  only  means  of  reforming 
all  the  evil  of  the  contemporary  theater  has  never  material- 
ized. The  wailing  lament  of  one  designer  that  it  was  a 
pity  the  seats  could  not  be  taken  out  so  that  the  spectators 
might  walk  about  to  see  from  all  angles  the  shadows  thrown 
upon  his  stage  setting  was  allowing  his  overwrought  pic- 
torial sense  to  overwhelm  his  knowledge  of  what  a  theater 
really  is. 

Yet  while  we  may  smile  at  the  ingenuousness  of  some 
of  the  extravagant  theorizers  we  must  accord  due  credit 
to  the  ingeniousness  of  the  advancing  practical  experi- 
mentalists. 


The   Players,  Ypsilanti 


Above :     The  Clod,  b}'  Lewis  Beach. 


P.clow :      Love    in    a    Kitchen,    an    old    Frencli    farce. 
Notice  the  same  scenery  in  both   x'lays. 


CHAPTER  XI 
EDUCATIONAL  DRAMATICS 

The  statement  made  in  the  first  chapter  of  this  book 
concerning  the  increased  and  always  increasing  interest  in 
affairs  dramatic  needs  no  further  exemphfication  than  the 
rapid  development  of  attention  to  all  theatric  arts  in  school 
and  colleges.     Nearly  every  high  school  does  more  than 
merely  read  and  discuss  classic  masterpieces,  scores  of  small 
colleges  offer   courses   leading   to   fuller   understanding  of 
play  production  or  active  participation  in  it.    A  few  univer- 
sities have  become  renowned  for  the  successful  results  se- 
cured in  some  special  phase  of  study  or  creation.    A  few 
specialized  schools  of  dramatic  art  have  advanced  to  the 
front  rank  as  producers  of  good  drama  in  worthy  man- 
ner.    The  term  educational  dramatics  is  so  wide  that  it 
may  serve  to  cover  any  interest  even  remotely  associated 
with  the  actual  house  of  dramatic  energy — the  theater.    In 
some  institutions  it  denotes  merely  an  adaptation  of  the 
old-fashioned  course  in  elocution.     It  may  list  a  historical 
survey  of  the  literary  drama.     It  may  advance  to  a  dis- 
cussion of  acted  literary  drama,  endeavoring,   instead  of 
cramming  students'  minds  with  the  textual  difficulties  of 
the  first  two  quartos  of  Hamlet,  to  show  them  exactly  how 
the  foils  are  exchanged  in  the  fencing  bout;  or  instead  of 
discussing  whether  Portia's  legal  decision  would  hold  in  a 
court  today,  to  indicate  how  the  actress  can  deliver  "  The 

197 


198     PRODUCING  IN  LITTLE  THEATERS 

quality  of  mercy  "  so  that  it  will  not  sound  like  a  school 
exercise.  In  some  institutions  the  plastic,  design,  scenery, 
costume,  aspects  of  drama  are  emphasized,  with  attendant 
success  in  productions  of  a  restricted  class  of  plays.  Others, 
leaving  aside  all  the  foregoing  possibilities,  concentrate  en- 
tirely on  playwriting,  so  that  these  courses  are  really  com- 
position practice  directed  towards  a  definite,  supposedly 
quickly  lucrative  investment. 

The  results  are  directly  in  line  with  the  material  con- 
sidered. From  such  courses  come  actors,  dancers,  direc- 
tors, scene  designers,  costume  makers,  playwrights,  archi- 
tects, and  keenly  interested  versatile  dilletanti.  These  last 
are  not  to  be  scorned  or  disregarded  for  from  their  growing 
number  will  be  recruited  the  better  class  of  amateur  work- 
ers, and  the  nucleus  of  the  intelligent  audiences  who  will 
either  help  change  the  professional  theater,  or  find  else- 
where their  continual  stimulus  in  dramatic  themes.  Al- 
ready in  this  country  there  are  millions  of  them. 

As  the  emphasis  placed  by  different  institutions  varies, 
so  the  material  considered,  and  the  methods  pursued,  differ 
as  widely  as  the  locations  of  the  schools.  Except  for  the 
quite  restricted  purpose  of  pla5^writing  for  the  professional 
market,  for  general  culture  no  aspect  of  educational  drama- 
tics is  a  waste  of  time. 

Many  courses  in  schools  avowedly  devoted  to  acting  be- 
gin with  pantomime,  but  hardly  any  two  follow  the  same 
method  or  utilize  the  same  material.  Of  course,  one  of 
the  first  essentials  of  dramatic  appearance  is  control  of 
the  body.  This  mastery  may  be  called  the  first  element 
of  the  actor's  technique.     One  school — it  always  seemed 


riidtdgiaiilis    by    Florence   Ilenderslicit 


The  Arts  Club,  Chicago.     Plays  by  Kenneth  Sawyer 

Goodman.  

Above:     The  Game  of  Chess. 


Below :     Dust  of  the  Road. 


l'li.ri,,-iai.h-;    hy    W'.h  ,t,.ii  -  Moultoii 

Tjie    Carolina    Plavmakers,    University    of     North 

Carolina.  

Above:    Dod  Cast  Ye  Both,  by  Hubert  Hcffncr. 


Below:     Peggy,  by  Harold  Williamson. 


Both  plays  are  based  on  material   of  the   district. 


EDUCATIONAL  DRAMATICS  199 

to  me  that  this  plan  was  easy  for  instructors — assigned 
among  its  early  appointments  the  reproduction  before  the 
class  of  some  bit  seen  in  real  life.  When  this  was  pre- 
sented in  pantomime  the  instructor  and  class  were  to  guess 
the  emotions  behind  the  actions  and  the  situation  being 
depicted.  Add  to  these  difficulties  of  required  attainment 
that  the  scene  should  delineate  character  and  present  a 
point  or  reach  a  climax,  and  you  will  have  some  faint  idea 
of  the  distraction  experienced  by  the  novitiates  who  roamed 
the  streets  of  New  York  straining  their  eyes  to  see  some- 
thing they  could  reproduce.  INIake  a  list  of  all  the  possi- 
bilities which  may  occur — the  railroad  station,  the  sub- 
way, the  elevated,  the  East  Side,  the  steamship  docks,  the 
river  boats,  the  restaurants,  the  cabarets,  the  moving  pic- 
ture houses,  automobiles,  building  sites,  engineering  proj- 
ects, the  airplane — the  surroundings  are  countless;  but 
try  to  particularize  some  single  event  which  might  happen, 
and  which  might  be  effectively  and  clearly  reproduced  in 
pantomime,  and  you  will  appreciate  the  difficulty  of  this 
apparently  innocent  direction. 

Even  after  you  have  found  a  bit  of  actual  life,  can  you 
be  sure  the  spectators  will  understand  it?  Can  you  make 
it  plain  to  them?  How  many  screen  stories  could  you  fol- 
low through  all  the  changes  without  the  captions? 

Students  who  have  experienced  this  search  for  actable 
material  have  described  it  as  the  most  discouraging  period 
of  all  their  study. 

Another  method  of  employing  a  pantomimic  beginning 
is  to  choose  some  play  of  marked  nature,  as  one  acted  in  a 
kitchen,  an  office,  a  restaurant,  a  camp,  a  trench,  a  prison, 


200     PRODUCING  IN  LITTLE  THEATERS 

upon  a  ship,  or  in  some  past  time,  as  the  French  Revolution, 
the  Civil  War,  the  Roman  Republic,  an  oriental  festival. 
Then  during  the  study  of  this  play,  the  members  of  the 
class  are  required  to  present  in  pantomime,  scenes  suggested 
by  its  environment,  its  situations,  its  characters.  The 
direct  value  of  such  preliminary  exercises  is  that  they  con- 
tribute bits  of  good  stage  business  to  be  incorporated  later 
as  the  lines  are  delivered.  Every  director  of  amateurs  who 
has  tried  to  produce  say  a  Moliere  comedy  knows  how 
much  time  must  first  be  spent  in  training  amateurs  to 
walk  like  ladies  and  gentlemen,  how  to  "  throw  themselves 
into  their  clothes,"  how  to  bow,  and  how  to  walk  without 
scraping  their  feet.  Or  in  a  modern  comedy  the  time  used 
in  showing  them  how  to  pretend  to  eat  or  to  drink  tea,  or 
to  talk  in  dumbshow,  or  to  join  a  group,  or  to  announce  a 
caller,  or  to  sit  down  gracefully,  or  to  leave  a  room,  or  to 
use  the  telephone  expeditiously,  is  almost  endless. 

Besides  these  realistic  uses  of  pantomime  there  is  a  con- 
ventionalized historical  system  brought  to  the  highest  de- 
gree of  perfection  by  the  Italians  and  French.  It  is  in 
French  and  Italian  theaters  that  a  spectator  sees  mimetic 
art  raised  to  certainty  of  effect  by  means  of  stabilized  de- 
vices. To  groups  of  spectators  long  trained  in  the  con- 
vention the  results  are  unerringly  illuminating,  to  the  un- 
initiated the  general  impression  may  be  correct,  although 
many  of  the  fine  details  are  unperceived.  It  is  like  trying 
to  understand  the  enthusiasm  of  a  Spanish  bull-fight  mob 
when  you  do  not  know  the  custom  of  the  award  of  the 
bull's  ear.  In  a  training  course  in  England  I  stood  fasci- 
nated by  the  beauty  of  poise  and  the  grace  of  gesture  of  a 


EDUCATIONAL  DRAMATICS  201 

class  of  over  forty  men  and  women  as  they  reproduced  the 
formal  gestures  of  the  instructor.  Riveting  as  the  evolu- 
tions were,  I  must  admit  that  if  the  phrases  being  inter- 
preted had  not  been  continually  repeated,  "  Mademoiselle 
is  beautiful;  Monsieur  is  splendid,"  I  might  have  thought 
some  of  the  students  were  trying  to  indicate  that  some 
person  had  a  moon  face  and  that  somebody  else  or  the 
same  person  was  stout  around  the  waist.  Many  of  the 
others  were  easier  to  apprehend  as  "  Monsieur  is  rich,  but 
I  am  broke,"  and  "  I  love  you!  will  you  marry  me?  " 

As  the  intended  thoughts  grew  in  subtlety  and  the  situa- 
tions became  complicated  by  the  inclusion  of  several  char- 
acters I  should  have  been  totally  mystified  had  not  eyes 
and  brain  been  aided  by  the  names,  dispositions,  and  rela- 
tionships of  the  persons  being  represented,  the  reinforcing 
music,  and  the  running  comments  and  directions  of  the 
instructor. 

With  all  its  drawbacks  and  difficulties,  some  practice  in 
pantomime  is  of  inestimable  value  in  educational  dramatics 
designed  to  help  acting  interpretation,  or  sympathetic  at- 
tendance in  the  theater. 

If  the  course  is  not  a  long,  intensified,  or  diversified  one, 
this  first  part,  the  pantomime,  may  be  omitted  as  a  distinct 
topic,  and  the  work  begin  with  another,  here  the  second. 
This  may  be  termed  improvisation.  Notice  that  pantomime 
tends  to  become  reproductive,  that  it  is  fixed  and  formal. 
Observe  a  few  screen  stories  to  realize  the  truth  of  this. 
Much  more  self-expression,  self-development  comes  from 
this  second  dramatic  element.  It  entails  much  more  valu- 
able brain  exercise.    While  it  must  be  based  on  observation 


202      PRODUCING  IN  LITTLE  THEATERS 

and  delineation,  it  embodies  many  elements  of  creative 
ability.  Sir  Frank  R.  Benson  once  told  me  that  a  good 
actor  must  be  a  human  kodak.  This  is  a  neat  phrase,  of 
course,  but  it  covers  only  part  of  the  equpiment.  Im- 
provisation is  a  workable  device  for  developing  the  others. 

Situations  in  improvisation  may  be  assigned  by  the  in- 
structor, chosen  by  the  student,  or  built  up  by  the  class. 
Besides  demanding  that  the  acted  scene  and  the  delivered 
speeches  must  show  characterization,  that  they  should  have 
some  point,  and  that  they  should  produce  a  climax  or  con- 
clusion, there  should  be  no  restrictions  of  either  material 
or  method.  Hints  for  securing  these  may  be  discussed  at 
length.  To  secure  point  or  climax  or  conclusion  the  device 
of  planning  backwards  should  be  exemplified.  This  may 
be  done  by  analyzing  either  a  few  actual  scenes  in  plays, 
or  suppositious  circumstances  suggested  by  observation. 
An  entire  class  may  depict  variously  the  same  theme.  The 
following   simple   suggestions   illustrate   the  plan. 

You  are  sitting  at  a  table  or  desk.  The  telephone  rings. 
You  pick  up  the  receiver.  A  person  at  the  other  end  in- 
vites you  to  dinner.  Deliver  your  part  of  the  conversa- 
tion. 

1.  Speak  in  your  own  character. 

2.  Speak  as  a  busy,  quick-tempered  old  man  in  his  dis- 
ordered office. 

3.  Speak  as  a  tired  wife  who  hasn't  had  a  relief  for 
weeks  from  the  drudgery  of  house-work. 

4.  Speak  as  a  young  debutante  who  has  been  enter- 
tained every  day  for  weeks. 

5.  Speak  as  the  office  boy. 


EDUCATIONAL  DRAMATICS  203 

6.  Speak  as  an  over-polite  foreigner. 

7.  Delineate  some  other  kind  of  person. 

As  you  deliver  the  dialogues  suggested  by  the  exercises 
try  to  make  your  speeches  sound  natural.  Talk  as  real 
people  talk.  Make  the  remarks  conversational,  or  collo- 
quial. What  things  will  make  conversation  realistic?  In 
actual  talk,  people  anticipate.  Speakers  do  not  wait  for 
others  to  finish.  They  interrupt.  They  indicate  opinions 
and  impressions  by  facial  expression  and  slight  bodily 
movements.     Tone  changes  as  feelings  change. 

Try  to  make  your  remarks  convey  to  the  audience  the 
circumstances  surrounding  the  dialogue.  Let  the  con- 
versation make  some  point  clear.  Before  you  begin,  deter- 
mine in  your  own  mind  the  characterization  you  intend 
to  present.  Discuss  from  all  possible  angles  the  following 
situation.  A  girl  buys  some  fruit  from  the  keeper  of  a 
stand  at  a  street  corner. 

What  kind  of  girl?  Age?  Manner  of  speaking?  Cour- 
teous? Flippant?  Well-bred?  Slangy?  Working  girl? 
Visitor  to  town? 

What  kind  of  man?  Age?  American?  Foreigner? 
From  what  country?  Dialect?  Disposition?  Suspicious? 
Sympathetic? 

Weather?  Season  of  year?  Do  they  talk  about  that? 
About  themselves?  Does  the  heat  make  her  long  for  her 
home  in  the  country?  Does  the  cold  make  him  think  of 
his  native  Italy  or  Greece?  Will  her  remarks  change  his 
short,  gruff  answers  to  interested  questions  about  her 
home?  Will  his  enthusiasm  for  his  native  land  change  her 
flippancy  to  interest  in  far-off  romantic  countries?     How 


204      PRODUCING  IN  LITTLE  THEATERS 

would  the  last  detail  impress  the  change,  if  you  decide  to 
have  one?  Might  he  call  her  back  and  force  her  to  take  a 
gift?  Might  she  deliver  an  impressive  phrase,  then  dash 
away  as  though  startled  by  her  exhibition  of  sympathetic 
feeling? 

These  are  mere  suggestions.  Two  students  might  present 
the  scene  as  indicated  by  these  questions.  Two  others 
might  show  it  as  broadly  comic,  and  end  by  having  the 
girl — at  a  safe  distance — triumphantly  show  that  she  had 
stolen  a  second  fruit.  That  might  give  the  fruit  seller  the 
cue  to  end  in  a  tirade  of  almost  inarticulate  abuse,  or  he 
might  stand  in  silence,  expressing  by  his  face  the  emo- 
tions surging  over  him.  And  his  feeling  need  not  be  en- 
tirely anger,  either.  It  might  border  on  admiration  for 
her  amazing  audacity,  or  pathetic  helplessness,  or  comic 
despair,  or  determination  to  ''  get  even  "  next  time. 

Before  you  attempt  to  present  any  of  the  following  sug- 
gestive exercises  you  should  consider  every  possibility  care- 
fully and  decide  definitely  and  consistently  all  the  ques- 
tions that  may  arise  concerning  every  detail. 

1.  Have  a  man  come  into  the  room  and  try  to  induce 
the  mistress  of  a  house  to  have  a  telephone  installed.  Make 
the  dialogue  realistic  and  interesting. 

2.  Have  a  girl  demonstrate  a  vacuum  cleaner  (or  some 
other  appliance)  to  the  mistress  of  the  house. 

3.  Have  a  man  dictate  a  letter  to  a  gum-chewing,  fidg- 
ety, harumscarum  stenographer. 

4.  Have  this  stenographer  tell  the  telephone  girl  about 
this. 

5.  Show  how  a  younger  sister  might  talk  at  a  baseball 


EDUCATIONAL  DRAMATICS  205 

or  football  game  to  her  slightly  older  brother  who  was 
coerced  into  bringing  her  with  him. 

6.  Show  a  fastidious  woman  at  a  dress  goods  counter, 
and  the  tired,  but  courteous  clerk.  Do  not  caricature,  but 
try  to  give  an  air  of  reality  to  this. 

7.  Show  how  two  young  friends  who  have  not  seen  each 
other  for  weeks  might  talk  when  they  meet  again. 

8.  A  foreign  woman  speaking  and  understanding  little 
English,  with  a  ticket  to  Springfield,  has  by  mistake  boarded 
a  through  train  which  does  not  stop  there.  The  conductor, 
a  man,  and  woman  try  to  explain  to  her  what  she  must  do. 

9.  Have  three  or  more  different  pairs  of  students  repre- 
sent the  girl  and  the  fruit  seller  cited  in  the  paragraphs  pre- 
ceding these  exercises. 

10.  A  young  man  takes  a  girl  riding  in  a  new  automo- 
bile.    Reproduce  parts  of  the  ride. 

11.  A  woman  in  a  car  or  coach  has  lost  or  misplaced 
her  transfer  or  ticket.  Give  the  conversation  between  her 
and  the  conductor. 

12.  Have  various  pairs  of  pupils  reproduce  the  conver- 
sations of  patrons  of  moving  pictures. 

The  next  step  is  logically  to  short  scenes  from  long  plays. 
In  such  cases  delineation  is  to  a  great  extent  fixed  by  the 
dramatist.  One  would  imagine  that  a  modern  playwright 
alive  to  the  vagaries  of  individual  producers  and  perform- 
ers would  leave  nothing  so  important  as  characterization 
to  appearance  or  chance.  Yet  there  are  always  matters 
for  individual  decision.  A  striking  one  is  this.  The  printed 
version  of  Lord  Dunsany's  Fame  and  the  Poet  contains  no 
direction  about  the  costume  of  the  Lieutenant-Major  who 


2o6     PRODUCING  IN  LITTLE  THEATERS 

is  calling  upon  a  poet  friend  in  London  before  he  goes  off 
to  the  theater.  In  one  city  an  amateur  actor  asked  the 
British  consul.  He  said  that  British  officers  do  not  wear 
their  uniforms  except  when  in  active  service,  but  on  the 
stage  one  famous  actor  had  by  his  example  created  the 
convention  of  wearing  the  uniform.  In  all  probability  he 
meant  Cyril  Maude.  At  just  that  same  time  I  asked  Lord 
Dunsany  the  same  question  in  another  city.  He  said 
that  by  no  means  should  the  actor  wear  a  uniform. 
Likewise  in  most  performances  of  A.  E.  W.  Mason's  Green 
Stockings  the  British  officer  back  from  Somaliland  wears 
mufti,  or  civilian  clothes,  but  in  a  photograph  of  a  uni- 
versity performance,  he  is  in  khaki.  As  in  such  a  minor 
matter  as  costume  so  in  the  larger,  essential  matters  of 
characterization,  a  performer  may  have  to  supply  a  con- 
ception from  elements  outside  the  play  itself. 

When  you  speak  lines  from  a  play  inject  as  much  natural- 
ness and  sincerity  into  your  delivery  as  you  can  command. 
Speak  the  words  as  though  they  really  express  your  own 
ideas  and  feelings.  If  you  feel  that  you  must  exaggerate 
slightly  because  of  the  impression  the  remark  is  intended 
to  make,  rely  more  upon  emphasis  than  upon  any  other  de- 
vice to  secure  an  effect.  Never  slip  into  an  affected  manner 
of  delivering  any  speech.  No  matter  what  kind  of  acting 
you  have  seen  upon  amateur  or  professional  stage,  you 
must  remember  that  moderation  is  the  first  essential  of 
the  best  acting.  Recall  what  Shakespeare  had  Hamlet  say 
to  the  players. 

In  taking  part  in  a  play  you  must  do  more  than  simply 
recite  words  spoken  by  some  one  other  than  yourself.    You 


EDUCATIONAL  DRAMATICS  207 

must  really  act  like  that  person.  This  adds  to  the  simple 
delivery  of  speeches  all  those  other  traits  by  which  per- 
sons in  real  life  are  different  from  one  another.  Such  com- 
plete identification  of  your  personality  with  that  of  the 
person  you  are  trying  to  represent  in  a  play  results  in  char- 
acter delineation,  or  characterization. 

You  may  believe  that  you  carmot  represent  an  Indian 
chief  or  a  British  queen,  or  an  Egyptian  slave,  or  a  secret- 
service  agent,  but  if  you  will  recall  your  childish  pastime 
of  day-dreaming  you  will  see  at  once  that  you  have  quite 
frequently  identified  yourself  with  some  one  else,  and  in 
that  other  character  you  have  made  yourself  experience  the 
strangest  and  most  thrilling  adventures.  When  you  study 
a  role  in  a  scene  or  play,  use  your  imagination  in  that  same 
manner.  In  a  short  time  it  will  be  easy  for  you  to  think 
as  that  other  character  would.  Then  you  have  become  iden- 
tified with  him.  The  first  step  in  your  delineation  has 
been  taken. 

Visualize  in  your  mind's  eye — ^your  imagination — the 
circumstances  in  which  that  character  is  placed  in  the  play. 
See  yourself  looking,  moving,  acting  as  he  would.  Then 
talk  as  that  character  would  in  those  circumstances.  Make 
him  react  as  he  would  naturally  in  the  situations  in  which 
the  dramatist  has  placed  him. 

Let  us  try  to  make  this  more  definite.  Suppose  a  youth 
is  chosen  to  act  the  part  of  an  old  man.  An  old  man  does 
not  speak  as  rapidly  as  a  young  man  does.  He  will  have  to 
change  the  speed  of  his  speech.  But  suppose  the  old  man 
is  moved  to  wrath,  would  his  words  come  slowly?  Would 
he  speak  distinctly  or  would  he  almost  choke? 


2o8     PRODUCING  IN  LITTLE  THEATERS 

The  young  woman  who  is  delineating  a  foreigner  must 
picture  her  accent  and  hesitation  in  speaking  English.  She 
would  give  to  her  face  the  rather  vacant  questioning  look 
such  a  woman  would  have  as  the  English  speech  flits  about 
her,  too  quickly  for  her  to  comprehend  all  of  it. 

The  woman  who  tries  to  present  a  British  queen  in  a 
Shakespeare  play  must  not  act  as  she  does  at  a  dinner 
party.  Yet  if  that  queen  is  stricken  in  her  feelings  as  a 
mother,  might  not  all  the  royal  dignity  melt  away,  and 
her  Majesty  act  like  any  sorrowing  woman? 

The  dramatist  may  be  very  careful  to  set  down  clearly 
and  accurately  the  traits,  di^ositions,  actions  of  the  people 
in  his  plays.  In  this  second  case  the  performer  must  try 
to  carry  out  every  direction,  every  hint  of  the  dramatist. 
In  the  first  case,  he  must  search  the  lines  of  the  play  to 
glean  every  slightest  suggestion  which  will  help  him  to 
carry  out  the  dramatist's  intention.  Famous  actors  of  char- 
acters in  Shakespeare's  plays  can  give  a  reason  for  every- 
thing they  show — at  least,  they  should  be  able  to  do  so — 
and  this  foundation  should  be  a  compilation  of  all  the  de- 
tails supplied  by  the  play  itself,  and  stage  tradition  of  its 
productions. 

In  early  printed  plays  there  are  practically  no  descrip- 
tions of  the  characters.  Questions  about  certain  Shake- 
speare characters  will  never  be  solved  to  the  satisfaction 
of  all  performers.  For  instance,  how  old  is  Hamlet  in  the 
tragedy?  How  close  to  madness  did  the  dramatist  expect 
actors  to  portray  his  actions?  During  Hamlet's  fencing 
match  with  Laertes  in  the  last  scene  the  Queen  says,  "  He's 


EDUCATIONAL  DRAMATICS  209 

fat,  and  scant  of  breath."    Was  she  describing  his  size,  or 
meaning  that  he  was  out  of  fencing  trim? 

Shakespeare  puts  into  the  mouth  of  Julius  Caesar  a  de- 
tailed description  of  the  appearance  and  manner  of  act- 
ing of  one  of  the  chief  characters  of  the  tragedy. 

Let  me  have  men  about  me  that  are  fat ; 
Sleek-headed  men  and  such  as  sleep  o'  nights: 
Yond  Cassius  has  a  lean  and  hungry  look; 
He  thinks  too  much:  such  men  are  dangerous. 

Would  he  were  fatter!    But  I  fear  him  not: 

Yet  if  my  name  were  liable  to  fear, 

I  do  not  know  the  man  I  should  avoid 

So  soon  as  that  spare  Cassius.    He  reads  much; 

He  is  a  great  observer,  and  he  looks 

Quite  through  the  deeds  of  men;  he  loves  no  plays, 

As  thou  dost,  Antony ;  he  hears  no  music ; 

Seldom  he  smiles,  and  smiles  in  such  a  sort 

As  if  he  mock'd  himself  and  scorn'd  his  spirit 

That  could  be  mov'd  to  smile  at  any  thing. 

In  As  You  Like  It  when  the  two  girls  are  planning  to 
flee  to  the  forest  of  Arden,  Rosalind  tells  how  she  will  dis- 
guise herself  and  act  as  a  man.  This  indicates  to  the  actress 
both  costume  and  behavior  for  the  remainder  of  the  comedy. 

Were  it  not  better, 
Because  that  I  am  more  than  common  tall, 
That  I  did  suit  me  all  points  like  a  man? 
A  gallant  curtle-ax  upon  my  thigh, 
A  boar-spear  in  my  hand ;  and — in  my  heart 
Lie  there  what  hidden  woman's  fear  fihere  will — 
We'll  have  a  swashing  and  a  martial  outside, 


210     PRODUCING  IN  LITTLE  THEATERS 

As  many  other  mannish  cowards  have 
That  do  outface  it  with  their  semblances 

In  many  cases  Shakespeare  clearly  shows  the  performer 
exactly  how  to  carry  out  his  ideas  of  the  nature  of  a  man 
during  part  of  the  action  One  of  the  plainest  instances 
of  this  kind  of  instruction  is  in  Macbeth.  The  ambitious 
thane's  wife  is  urging  him  on  to  murder  his  king.  Her 
advice  gives  the  directions  for  the  following  scenes. 

O  never 

Shall  sun  that  morrow  see! 

Your  face,  my  thane,  is  as  a  book  where  men 

May  read  strange  matters.    To  beguile  the  time, 

Look  like  the  time ;  bear  welcome  in  your  eye, 

Your  hand,  your  tongue:  look  like  the  innocent  flower, 

But  be  the  serpent  under't.    He  that's  coming 

Must  be  provided  for:  and  you  shall  put 

This  night's  great  business  into  my  dispatch; 

Which  shall  to  all  our  nights  and  days  to  come 

Give  solely  sovereign  sway  and  masterdom. 

Modern  dramatists  are  likely  to  be  much  more  careful 
in  giving  advice  about  characterization.  They  insert  a 
large  number  of  stage  directions  covering  this  matter. 
Speed  of  delivery,  tone  and  inflection,  as  well  as  under- 
lying feeling  and  emotion  are  minutely  indicated.  These 
lines  from  Lady  Windermere's  Fan  leave  nothing  to  indefi- 
nite guess. 

Duchess  of  Berwick 
Mr.  Hopper,  I  am  very  angry  with  you.    You  have 
taken  Agatha  out  on  the  terrace,  and  she  is  so  delicate. 


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Alice  in  M^'oudcrhuul.  dramatized  by  Alice  Gerstenberg 
The  Playhouse,  Chicago.  Designed  by  William 
Penhallovv  Henderson. 


EDUCATIONAL  DRAMATICS  2H 

HOPPEK 

(At  left  of  center)  Awfully  sorry,  Duchess.     We 
went  out  for  a  moment  and  then  got  chatting  together. 

Duchess 
{At  center)  Ah,  about  dear  Australia,  I  suppose? 

Hopper 
Yes. 

Duchess 
Agatha,  darling!     {Beckons  her  over.) 

Agatha 
Yes,  mamma! 

Duchess 
{Aside)  Did  Mr,  Hopper  definitely — 

Agatha 
Yes,  mamma. 

Duchess 
And  what  answer  did  you  give  him,  dear  child? 

Agatha 
Yes,  mamma. 

Duchess 
{Affectionately)  My  dear  one!    You  always  say  the 
right  thing.    Mr.  Hopper!     James!     Agatha  has  told 
me  everything.     How  cleverly  you  have  both  kept 
your  secret. 

Hopper 
You  don't  mind  my  taking  Agatha  off  to  Australia, 
then.  Duchess? 

Duchess 
{Indignantly)   To  Australia?     Oh,  don't  mention 
that  dreadful  vulgar  place. 


212      PRODUCING  IN  LITTLE  THEATERS 

Hopper 
But  she  said  she'd  like  to  come  with  me. 

Duchess 
(Severely)  Did  you  say  that,  Agatha? 

Agatha 

Yes,  mamma. 

Duchess 
Agatha,  you  say  the  most  silly  things  possible. 

In  addition  to  definite  directions  at  special  times  during 
the  course  of  the  dialogue,  modern  writers  of  plays  de- 
scribe every  character  quite  fully  at  the  first  entrance  into 
the  action.  This  gives  the  delineator  of  each  role  a  work- 
ing basis  for  his  guidance.  Such  directions  carefully  fol- 
lowed out  assure  the  tone  for  the  whole  cast.  They  keep  a 
subordinate  part  always  in  the  proper  relation  to  all  others. 
They  make  certain  the  impression  of  the  whole  story  as  a 
consistent  artistic  development.  They  prevent  misunder- 
standings about  the  author's  aim.  They  provide  that  every 
character  shall  appear  to  be  swayed  by  natural  motives. 
They  remove  from  the  performance  all  suggestions  of  un- 
regulated caprice. 

Dramatists  vary  in  the  exactness  and  minuteness  of  such 
descriptive  character  sketches,  but  even  the  shortest  and 
most  general  is  necessary  to  the  proper  appreciation  of  every 
play,  even  if  it  is  being  merely  read.  When  a  student  is 
assimilating  a  role  for  rehearsing  or  acting,  these  additions 
of  the  author  are  as  important  as  the  lines  themselves. 


EDUCATIONAL  DRAMATICS  213 

Excellent  descriptions  of  characters  are  in  the  stage  di- 
rections of  most  modern  plays.  Instructor  and  students 
should  endeavor  to  secure  variety  of  interest  in  roles.  At 
first,  assignments  are  likely  to  be  determined  by  apparent 
fitness.  The  quiet  youth  is  not  required  to  play  the  part 
of  the  braggart.  The  retiring  girl  is  not  expected  to  im- 
personate the  shrew.  In  one  or  two  appearances  it  may 
be  a  good  thing  to  keep  in  mind  natural  aptitude. 

Then  there  should  be  a  departure  from  this  system.  Edu- 
cational development  comes  not  only  from  doing  what  you 
are  best  able  to  do,  but  from  developing  the  less-marked 
phases  of  your  disposition  and  character.  The  opposite 
practice  should  be  followed,  at  least  once.  Let  the  promi- 
nent class  member  assume  a  role  of  subdued  personality. 
Let  the  timid  take  the  lead.  Induce  the  silent  to  deliver 
the  majority  of  the  speeches.  You  will  be  amazed  fre- 
quently to  behold  the  best  delineations  springing  from  such 
assignments. 

Such  rehearsing  of  a  play  already  studied  should  termi- 
nate the  minute  analysis  in  order  to  show  the  material  for 
what  it  is — actable  drama.  It  will  vivify  the  play  again, 
and  make  the  characters  live  in  your  memory  as  mere  read- 
ing never  will.  You  will  see  the  moving  people,  the  grouped 
situations,  the  developed  story,  the  impressive  climax,  and 
the  satisfying  conclusion. 

In  dealing  with  scenes  from  a  long  play — whether  linked 
or  disconnected — students  will  always  have  a  feeling  of  in- 
completeness. In  a  full-length  play  no  situation  is  com- 
plete in  itself.  It  is  part  of  a  longer  series  of  events.  It 
may  finish  one  part  of  the  action,  but  it  usually  merely 


214      PRODUCING  IN  LITTLE  THEATERS 

carries  forward  the  plot,  passing  on  the  complication  to 
subsequent  situations. 

To  deal  with  finished  products  should  be  the  next  en- 
deavor. There  are  hundreds  of  short  plays  suitable  for 
class  presentation  in  an  informal  manner.  Most  of  them 
do  not  require  intensive  study,  as  does  a  great  Greek  or 
English  drama,  so  their  preparation  may  go  on  entirely 
outside  the  classroom.  It  should  be  frankly  admitted  that 
the  exercises  of  delivering  lines  ''  in  character  "  as  here 
described  is  not  acting  or  producing  the  play.  That  will 
come  later.  These  preliminary  exercises — many  or  few, 
painstaking  or  sketchy — are  processes  of  training  students 
to  speak  clearly,  interestingly,  forcefully,  in  the  imagined 
character  of  some  other  person.  The  student  must  not 
wrongly  believe  that  he  is  acting. 

Though  the  delivery  of  a  complete  short  play  may  seem 
like  a  performance,  both  participants  and  audience,  if  there 
is  any,  must  not  think  of  it  so.  It  is  class  exercise,  subject 
to  criticism,  comment,  improvement,  exactly  as  all  other 
class  recitations  are. 

Since  the  entire  class  has  not  had  the  chance  to  become 
familiar  with  all  the  short  plays  to  be  presented,  some  one 
should  give  an  introductory  account  of  the  time  and  place 
of  action.  There  might  be  added  any  necessary  comments 
upon  the  characters.  The  cast  of  characters  should  be 
written  upon  the  board,  or  distributed  in  typed  programs. 

This  exercise  should  develop  the  plot  of  the  play,  create 
suspense,  impress  the  climax,  and  satisfactorily  round  off 
the  play.  In  order  to  accomplish  these  important  effects 
the  participants  will  soon  discover  that  they  must  agree 


EDUCATIONAL  DRAMATICS  215 

upon  certain  details  to  be  made  most  significant.  This 
will  lead  to  discussions  about  how  to  make  these  points 
stand  out.  In  the  concerted  attempt  to  give  proper  em- 
phasis to  some  line  late  in  the  play  it  will  be  found  neces- 
sary to  suppress  a  possible  emphasis  of  some  line  early  in 
the  action.  To  reinforce  a  trait  of  some  person,  another 
character  may  have  to  be  made  more  self-assertive. 

To  secure  this  unified  effect  which  every  play  should 
make  the  persons  involved  will  have  to  consider  carefully 
every  detail  in  lines  and  stage  directions,  fully  agree  upon 
what  impression  they  must  strive  for,  then  heartily  co- 
operate in  attaining  it.  They  must  forget  themselves  to 
remember  always  that  "  the  play's  the  thing." 

The  following  list  will  suggest  short  plays  suitable  for 
informal  classroom  training  in  dramatics.  Most  of  these 
are  also  general  enough  in  their  appeal  to  serve  for  regular 
production  upon  a  stage  before  a  miscellaneous  audience. 

Aldrich,  T.  B Pauline  Pavlovna 

Baring,  M JDiminutive  Dramas 

Butler,  E.  P The  Revolt 

Cannan,  G Everybody's  Husband 

DuNSANY,  Lord  Tents  of  the  Arabs 

The  Lost  Silk  Hat 

Fame  and  the  Poet 

Fenn  AND  Pryce 'Op-o-Me-Thumb 

Gale,  Z Neighbors 

Gesstenberg,  A Overtones 

Fourteen 

Gibson,  W.  W Plays  in  Collected  Works 

Gregory,  Lady Spreading  the  News 

The  Workhouse  Ward 

Coats,  etc. 


2i6      PRODUCING  IN  LITTLE  THEATERS 

Houghton,  S The  Dear  Departed 

Phipps 

Jones,  H.  A Mer  Tongue 

Kreymborg,  a Mannikin  and  Minnikin 

MoELLER,  P Pokey 

A  Road  House  in  Arden 

O'Neill,  E 'He 

QuiNTERO,  J.  AND  S.  A A  Sunuy  Morning 

Rice,  C .The  Immortal  Lure 

Stevens,  T,  W Ryland 

Holbein  at  Blackjriars 
Sudermann,  H The  Far-Away  Princess 

Fritzchen 
Synge The  Shadow  oj  the  Glen 

Riders  to  the  Sea 

TcHEKOFF,  A ,A  Marriage  Proposal 

Torrence,  R The  Rider  of  Dreams 

Walker,  S .Never-the-Less 

The  Very  Naked  Boy 
Yeats,  W.  B Cathleen  Ni  Houlihan 

When  roles  are  determined  or  assigned  there  enters  into 
the  studying  the  educative  value  of  rapid,  accurate  memo- 
rizing. Anything  delivered  by  the  faddist  pedagogues  to 
the  contrary  notwithstanding,  there  is  a  decided  value  for 
every  person  in  ability  to  memorize.  Various  schemes  for 
perfecting  this  mechanical  ability  have  been  described  in 
the  Chapter  on  Rehearsing. 

In  the  delivery  of  memorized  lines  of  plays  the  instructor 
of  a  class  in  dramatics  has  the  widest  field  for  permanent 
effects.  So  much  has  been  spoken  and  written  about  all 
the  disagreeableness  suggested  by  the  term,  "  the  American 
voice,"  that  no  amplification  need  be  set  down  here.     It 


EDUCATIONAL  DRAMATICS  217 

would  not  be  an  inappropriate  thing  to  have  the  beginner 
learn  and  comment  on  every  precept  of  Hamlet's  advice  to 
the  players.  Beginning  with  the  simple  needs  of  pronun- 
ciation and  enunciation,  the  training — never  losing  touch 
with  these — should  extend  to  mastery  of  diction,  sense  of 
rhythm,  and  beauty  of  utterance.  Good  prose  has  these 
qualities  as  well  as  blank  verse,  though  training  is  easier 
when  linked  with  the  poetic  form.  There  is  no  occasion 
here  to  lament  the  miserable  delivery  of  blank  verse  upon 
our  stage,  until  we  have  lamented  more  effectively  the  lack 
of  any  poetry  at  all.  However  in  schools,  both  prose  and 
verse  can  be  made  to  yield  lasting  results  of  far-reaching 
significance.  The  student  actress  may  never  deliver  a  line 
from  the  professional  stage,  but  if  she  marries  she  can  in- 
fluence her  immediate  household  by  the  charm  and  beauty 
of  her  speech.  The  school  may  get  to  be  so  renowned  for 
results  in  speech  betterment  that  it  will  attract  interested 
school  teachers.  Think  of  the  enormous  influence  which 
would  be  exerted  if  all  the  teachers  of  the  nation  learned 
to  speak  clearly,  interestingly,  and  beautifully. 

So  far  this  discussion  has  taken  cognizance  only  of  the 
acted  side  of  the  play.  There  may  be  in  the  class,  or  paral- 
lel to  it,  a  group  more  interested  in  the  other  arts  of  the 
theater  than  in  acting.  What  shall  have  been  assigned 
to  them  during  this  training  of  the  performers  themselves? 
All  the  work  so  sketchily  outlined  here  can  easily  be  made 
to  serve  for  them.  At  the  same  time  that  scenes  are  con- 
sidered for  acting  problems  in  scene  designing  may  be  dis- 
tributed to  the  student  architects,  costume  designers,  in- 


2i8      PRODUCING  IN  LITTLE  THEATERS 

terior  decorators,  scene  designers,  and  builders.  A  series 
of  individual  methods  may  be  instigated  to  induce  original 
self-expression  and  to  help  discover  latent  talent.  Or  severe 
restrictions  may  be  imposed.  The  treatment  assigned  may 
be  severely  historical.  Or  it  may  prescribe  only  pylons, 
flats,  and  draperies.  The  sketches,  finished  models,  and 
even  constructed  paraphernalia  for  a  full-sized  stage,  all 
the  elements  of  which  were  restricted  to  platforms  and 
cubes,  assigned  by  Josef  Urban  to  a  student  group  were 
an  unusual  contribution  to  such  a  scheme.  Various  other 
plans  to  follow  will  have  been  suggested  by  other  portions 
of  this  book.  A  full  set  of  costume  plates  or  make-up 
sketches  might  also  be  prepared.  Even  furniture  made 
to  scale  will  help  all  the  participants  in  a  dramatic  study 
project. 

If,  as  frequently  happens,  artists  work  more  rapidly  than 
actors,  they  can  be  kept  busy  with  material  not  under 
preparation  for  presentation.  While  every  play  may  be 
made  to  present  problems — as  for  instance,  Hamlet  with 
permanent  frames  but  moveable  set  pieces,  and  draperies 
and  tapestries,  or  Richard  III  within  permanent  side  walls 
— many  of  these  are  beyond  students.  Some  of  the  follow- 
ing offer  nice  adjustments  of  opinions  to  text,  of  design  to 
action,  of  originality  to  requirements,  of  style  to  fitness. 

I.  Should  the  entire  masque  of  Comus  by  Milton  be 
acted  out-of-doors?  When  presented  on  an  indoors  stage 
what  should  scene  2  be?  Inside  the  palace  of  Comus? 
How  then  do  the  two  Brothers  get  in?  How  and  where 
do    Sabrina   and   her   attendant   Nymphs   rise?      From   a 


EDUCATIONAL  DRAMATICS  219 

pool,  or  fountain?  Might  the  stage  show  an  exterior? 
Would  the  palace  be  on  one  side?  The  edge  of  the  woods 
on  the  other?  The  banks  of  the  river  at  the  rear?  Would 
such  an  arrangement  make  entrances,  exits,  dancing,  acting, 
effective?  Search  until  you  have  reasons  for  all  your  opin- 
ions. 

2.  A  Midsummer  Night's  Dream,  scene  i.  Interior? 
Exterior?     Color?     Lighting? 

3.  Hamlet,  Act  I,  scene  5.  Castle  battlements?  A 
graveyard?  Open  space  in  country  some  distance  from 
castle? 

4.  Comus,  scene  3. 

5.  The  Tempest,  Act  I,  scene  i. 

6.  Twelfth  Night,  Act  II,  scene  3. 
Romeo  and  Juliet,  Act  I,  scene  i. 
Julius  Ccesar,  Act  III,  scene  2. 
In  a  long,  high-vaulted  room,  looking  out  upon  a 

Roman  garden  where  the  cypresses  rise  in  narrowing  shafts 
from  thickets  of  oleander  and  myrtle,  is  seated  a  company 
of  men  and  women,  feasting. 

William  Sharp:     The  Lute-Player 

10.  A  room,  half  drawing-room,  half  study,  in  Lewis 
Davenant's  house  in  Rockminister.  Furniture  eighteenth 
century,  pictures,  china  in  glass  cases.  An  April  afternoon 
in  i860. 

George  Moore:     Elizabeth  Cooper 

11.  An  Island  off  the  West  of  Ireland.  Cottage  kitchen, 
with  nets,  oil-skins,  spinning  wheel,  some  new  boards 
standing  by  the  wall,  etc. 

J.  M.  Synge:     Riders  to  the  Sea 


220      PRODUCING  IN  LITTLE  THEATERS 

12.  Loud  music.  After  which  the  Scene  is  discovered, 
being  a  Laboratory  or  Alchemist's  work-house.  Vulcan 
looking  at  the  register,  while  a  Cyclope,  tending  the  fire,  to 
the  cornets  began  to  sing. 

Ben  Jonson:     Mercury  Vindicated 

13.  Rather  an  awesome  picture  it  is  with  the  cold  blue 
river  and  the  great  black  cliffs  and  the  blacker  C3^presses 
that  grow  along  its  banks.  There  are  signs  of  a  trodden 
slope  and  a  ferry,  and  there's  a  rough  old  wooden  shelter 
where  passengers  can  wait;  a  bell  hung  on  the  top  with 
which  they  call  the  ferryman. 

Calthrop  and  Barker:  The  Harlequinade 
Long  before  any  play  is  produced  there  should  be  made 
a  sketch  or  plan  showing  the  stage  settings.  From  this 
sketch  a  working  model  should  be  constructed.  If  it  is  in 
color  it  will  reproduce  the  appearance  of  the  actual  stage. 
One  important  point  is  to  be  noted.  Your  sketch  or  model  is 
merely  a  miniature  of  the  real  thing.  If  you  have  in  it  a 
splotch  of  glaring  color  only  an  inch  long  it  will  appear  in 
the  full-size  setting  about  two  feet  long.  A  seemingly  flat 
surface  three  by  five  inches  in  the  design  will  come  out 
six  by  ten  feet  behind  the  footlights. 

In  educational  dramatics  rehearsals  should  be  consid- 
ered as  discussed  in  this  book,  whether  the  director  be  the 
instructor  or  a  student  from  an  advanced  class.  Produc- 
tions of  educational  undertakings  are  different  from  all 
others.  In  others  the  test  of  a  performance  is  its  effect 
upon  the  audience.  In  educational  dramatics — ^while  the 
reaction  of  the  audience  is  important — it  is  overbalanced 


EDUCATIONAL  DRAMATICS  221 

by  the  effect  upon  the  students  themselves,  in  critical  power, 
in  self-examination,  in  improvement  of  method,  in  ease  of 
acting,  in  application  of  technique.  A  recognition  of  the 
attitude  of  an  audience  before  a  school  performance — 
whether  ordinary  high  school  or  professional  drama  school 
— is  necessary  to  a  weighing  of  all  constituent  elements 
of  success.  An  audience  which  has  paid  for  its  seats  is 
easier  to  impress  than  a  "  free  "  audience.  The  audience 
which  has  wanted  to  attend  will  be  more  responsive  than 
the  one  induced  by  invitation.  The  "  free-pass  "  audience, 
or  its  amateur  "  dead-head  "  or  "  paper  "  equivalent  is 
most  frigid  of  all.  An  educational  institution,  therefore, 
must  consider  its  kinds  of  audiences  much  more  carefully 
than  the  usual  little  theater  group.  Means  should  be  de- 
vised to  prevent  the  attendance  of  merc^  friends  of  the 
performers.  Whether  too  candid  or  too  lenient  such  per- 
sonal associates  do  not  constitute  a  good  audience.  If  the 
choice  of  play  is  correct  and  the  acting  reaches  a  high  level 
it  will  not  be  long  before  a  large  number  of  exactly  the 
right  kind  of  persons  will  be  attracted.  The  Carnegie  In- 
stitute audience,  which  by  the  terms  of  the  foundation  must 
always  be  a  non-paying  one,  has  increased  to  some  six 
times  its  original  size.  From  it  has  developed  directly  the 
paying  audience  which  supports  the  graduate  organization, 
the  Guild  Players.  The  audience  of  the  other  most  dis- 
tinctive school  of  drama,  the  47  Workshop  at  Harvard  is 
expected  to  take  part  in  the  educational  development  by 
filling  in  and  returning  blanks  concerning  productions. 
Persons  who  neglect  to  grant  this  small  return  for  the  privi- 
lege of  attendance  are  dropped  from  the  mailing  lists. 


222      PRODUCING  IN  LITTLE  THEATERS 

Unless  the  audience  can  become  the  cognate  of  the  gen- 
eral public  of  the  commercial  theaters,  acting  before  it  has 
no  special  educational  value  for  students.  A  play,  a  role 
must  impress  and  interest  because  of  its  intrinsic  appeal 
and  merit.  The  smaller  and  fewer  the  adventitious  aids  to 
tolerance  can  bt  made,  the  better  training  does  acting  be- 
come. 

The  corollary  of  the  foregoing  is  that  a  single  perform- 
ance is  never  enough  for  an  amateur  cast.  One  trial  is  no 
assurance  of  ability.  In  school  productions  it  is  a  good 
practice  to  insist  always  upon  an  adherence  to  the  dictum 
laid  down  in  the  chapter  on  Rehearsing  that  a  dress  re- 
hearsal should  be  exactly  like  a  performance,  except  that 
the  audience  at  the  regular  performance  is  either  a  gen- 
eral paying  one,  or  a  group  gathered  by  invitation  of  the 
class  or  organization  offering  the  play.  It  is  extremely 
easy  to  secure  as  large,  if  a  totally  different  audience,  for 
the  dress  rehearsal.  In  case  the  evening  audience  is  a  pay- 
ing one,  invite  the  members  of  the  school  to  attend  the 
dress  rehearsal  at  a  very  small  admission  price.  In  case 
the  evening  performance  is  to  an  invited  audience,  ask  to 
the  dress  rehearsal  all  the  members  of  the  school.  There 
is  no  reason,  if  the  play  has  been  adequately  rehearsed, 
why  the  dress  rehearsal  should  not  equal  the  performance. 
In  many  schools  dress  rehearsals  are  perfect  in  every  de- 
tail. Appearing  once  before  an  audience  insures  ease  at 
the  second  appearance,  besides  giving  the  amateur  actors 
the  feeling  of  having  won  twice  as  much  recognition.  Ease, 
speed,  comfort,  confidence,  are  secured  for  every  person  con- 
cerned, by  this  logical  procedure. 


EDUCATIONAL  DRAMATICS  223 

The  actors  and  the  director  must  be  prepared  for  one 
detail  of  supreme  importance.  The  two  audiences  will  be 
radically  different  in  their  responses,  and  even  when  they 
agree  in  time  of  reaction,  they  will  be  differentiated  en- 
tirely in  degree  and  reason  of  reaction.  Amateur  perform- 
ers must  be  warned  of  this,  and  admonished  to  hold  their 
characterizations,  situations,  and  points,  in  spite  of  dress 
rehearsal  experiences.  Pathos  will  be  effective  to  varying 
degrees,  surprisingly  far  apart  in  their  depth.  Humor  will 
be  interpreted  at  contradictory  points.  Interest  may  rise 
in  more  rapid  or  more  leisurely  fashion.  A  dress  rehearsal 
audience  is  having  its  curiosity  satisfied.  A  regular  audi- 
ence is  having  its  interest  aroused  or  its  emotions  stirred. 

This  difference  is  true  of  a  metropolitan  audience.  I 
have  sat  through  the  dress  rehearsal  of  a  comedy  in  a 
New  York  theater  without  hearing  a  single  audible  laugh 
from  the  fifty  or  seventy-five  spectators.  This  difference 
of  response  is  being  cited  to  discount  the  reception  of  new 
plays  by  a  first-night  audience  in  New  York,  because  it 
is  made  up  largely  of  newspaper  critics  and  professional 
theatrical  workers. 

For  real  knowledge  of  acting  and  producing  the  play 
should  be  repeated  frequently.  So  far  as  the  actors  are 
concerned  such  repetitions  will  give  them  chances  for  self- 
examination.  Having  reduced  the  acting  to  the  reflexive 
state  they  can  concenter  their  consciousness  upon  the  means 
employed  and  the  ends  attained — or  missed.  With  ease 
of  acting  should  come  certainty  of  effect.  With  certainty 
of  effect  should  come  economy  of  effort.  With  economy 
of  effort  comes  mastery  of  technique.     Repetition  makes 


2  24      PRODUCING  IN  LITTLE  THEATERS 

criticism  valuable.  A  report  on  a  performer's  exhibition 
after  one  performance  is  almost  valueless.  What  will  he 
do  with  the  change  suggested  if  he  has  no  opportunity  of 
incorporating  it  in  a  subsequent  repetition  of  the  same 
play?  It  is  even  doubtful  if  any  criticism  is  listened  to 
carefully  enough,  or  apprehended  clearly  enough,  to  make 
any  more  than  a  fleeting  impression.  When,  under  the 
temperamental  or  nervous  stress  of  a  new  production,  it 
is  listened  to  at  all  and  fully  understood,  it  is  likely  to  be 
resented  as  a  derogatory  remark.  Flung  aside  contemptu- 
ously it  certainly  will  have  no  effect  upon  future  inter- 
pretations. When,  however,  there  are  many  performances, 
there  are  chances  that  sane  and  legitimate  corrections  will 
show  in  intelligent  modifications  of  scenes. 

When  the  sum  total  of  all  these  detailed  warnings  and 
corrections  has  become  part  of  the  performers'  instinctive 
method  of  attacking  new  roles,  then  it  may  be  said  that 
their  student  training  is  almost  over,  and  they  should  become 
developing  actors. 


APPENDIX 


TWO  HUNDRED  PLAYS  SUITABLE  FOR 
AMATEURS 

NOTE 

The  following  list  is  merely  suggestive,  but  it  does  include  a 
specimen  of  almost  every  kind  of  play  within  the  general  range 
of  amateur  groups.  Many  successes  of  certain  organizations 
would  be  entirely  unsuited  to  others.  It  is  hoped  that  the  brief 
annotations  will  help  determine  choices.  As  intimate  theaters 
indulge  in  rather  startling  novelties  beginners  are  here  advised 
that  many  frequently-produced  plays  depend  directly  upon  a 
highly  developed  sophistication  of  the  audiences. 

A — One  Hundred  Ftdl-Length  Plays 

Andreev,  L.  The  Sabine  Women.  3  A.  Large  cast.  A 
daring,  farcical  treatment  of  an  interesting  topic.  Not  for 
unsophisticated  audiences.  Drama,  19 14. 

Aristophanes.  Lysistrata.  Large  cast.  Old  comedy 
much  used  now  to  satirize  woman's  rights  movement.  May 
be  treated  in  a  score  of  original  manners.  For  sophisticated 
only.  Samuel  French. 

Bahr,  Herman.  The  Master.  3  A.  9  m.  3  f.  Excellent 
play,  dealing  with  the  forceful  man.  One  interior.  All  roles 
good.  If  used,  the  translation  should  be  corrected  from  the 
original;  the  scene  restored  to  its  European  country.  For 
sophisticated  only.  Nicholas  Brown. 

Baring,  Maurice.  The  Green  Elephant..  4  A.  6  m.  4  f. 
3  interiors.  An  early,  well-constructed  theft  mystery.  Bet- 
ter than  many  later  professional  successes.  Amateurs  can 
produce  this  effectively.  Constable  and  Co. 

Barker,  Granville.  The  Madras  House.  4  A.  8  m.  12  f. 
Extras.    Modern  comedy.    Not  too  easy.    Contains  some 

227 


228  TWO  HUNDRED  PLAYS 

sure  theatrical  devices.     Some  roles  exacting.     For  experi- 
enced players,  and  sophisticated  audiences. 

Mitchell  Kennerley. 

— The  Harlequinade.  Five  scenes.  Varying  cast.  Pos- 
sible with  simple  artistic  settings.  The  spirit  of  comedy 
through  the  ages.    Whimsical.  Little,  Brown  and  Co. 

Barrie,  James  M.  Alice  Sit-by-the-Fire.  3  A.  3  m.  6  f. 
Charming  comedy.  Leading  woman  must  be  good  actress. 
Two  interior  sets.     Quite  effective. 

Charles  Scribner's  Sons. 

— What  Every  Woman  Knows.  (About  her  husband.)  4 
A.  5  m.  4  f.  Extras.  Sets  elaborate.  Two  roles  fairly 
difficult.     Good  play. 

— The  Admirable  Crichton.  4  A.  7  m.  6  f .  Sets  difficult. 
Roles  excellent.  Frequently  produced  by  amateurs.  An 
English  butler  takes  care  of  his  master's  family  wrecked  on 
an  island. 

Bennett,  Arnold.  The  Great  Adventure.  4  A.  15  m.  3  f. 
4  interiors.  While  not  a  strong  story  this  is  fairly  effective. 
Artist  lets  world  believe  he  died.    Good  acting  will  carry  it. 

— The  Title.  3  A.  4  m.  4  f.  This  is  a  better  comedy  on 
class  feeling  in  England.    Not  too  difficult. 

— Milestones.  3  A.  9  m.  6  f.  A  good  play  for  actors  of 
tried  ability,  sure  of  gaining  effects.  Good  theme.  Presents 
three  generations;  the  characters  age  greatly  between  acts. 
Not  for  novices. 

Bernstein,  Henri.  The  Thief.  3  A.  5  m.  2  f.  Good  de- 
lineation of  a  strong  situation.  Two  roles  exacting.  For 
fairly  experienced  amateurs.  Doubleday,  Page  and  Co. 

Besier,  Rudolph.  Don.  3  A.  4  m.  5  f.  Rapid  fire  situa- 
tions.   Good  characters.    Quite  within  ability  of  amateurs. 

Duffield  and  Co. 


SUITABLE  FOR  AMATEURS  229 

— Lady  Patricia.  3  A.  7  m.  3  f.  Excellent  comedy.  Few 
roles  exacting,  2  sets,  i  fairly  difficult.  If  done  properly 
this  is  always  effective. 

Brighouse,  H.  Hobson's  Choice.  4  A.  7  m.  5  f.  Genre 
study  of  crafty  Lancaster  work  people.  Dialect  presents  dif- 
ficulty.   Sets  fairly  difficult.        Doubleday,  Page  and  Co. 

Calderon,  G.  The  Fountain.  3  A.  12  m.  6  f.  Extras. 
One  interior.  Excellent  roles.  English  comedy  with  pur- 
pose.    Social  reform  acts  like  a  boomerang.    Not  difficult. 

Gowans  and  Gray. 

Chapin,  Harold.  Art  and  Opportunity..  3  A.  5  m.  2  f. 
2  sets;  can  be  played  in  one.  Good  characters,  situations. 
Maneuvers  of  a  fascinating  woman. 

American  Play  Co.,  N.  Y. 

Chesterton,  G.  K.  Magic.  3  A.  6  m.  i  f.  Only  2  sets. 
Effective  if  the  proper  atmosphere  of  supernatural  influence 
can  be  produced.    All  parts  good. 

G.  P.  Putnam's  Sons. 

Davies,  H.  H.  The  Mollusc.  3  A.  2  m.  2  f.  Good  com- 
edy of  character.  One  interior.  Good  acting  required,  but 
suitable  for  most  amateurs  who  know  something  of  modern 
stage  performances.  Baker  and  Co. 

— Lady  Epping's  Lawsuit.  3  A.  12  m.  7  f.  Extras.  In- 
teriors. Large  cast.  Satirical  comedy.  Extravagant  situa- 
tions.   Almost  acts  itself. 

Dumas,  Alexandre.  Marriage  of  Convenience.  4  A,  4  m. 
2  f.  Excellent  costume  comedy.  Small  cast.  One  set,  in- 
terior.   Long  popular.  Samuel  French. 

Dunsany,  Lord.  The  Gods  of  the  Mountain.  3  A.  10  m. 
5  f.  The  best  known  play  of  this  dramatist.  Costumes,  set- 
ting, lighting  offer  opportunities  for  novel  and  picturesque 
treatment.    The  stone  gods  come  to  life  to  punish. 


230  TWO  HUNDRED  PLAYS 

Ervine,  St.  John.  Jane  Clegg.  3  A.  4  m.  3  f.  One  in- 
terior. Drab  but  excellent.  Leading  woman  good  role,  re- 
quires finished  acting.  A  humble  wife,  yet  "  captain  of  her 
soul."  Henry  Holt  and  Company. 

— John  Ferguson.  3  A,  5  m.  2  f.  One  interior  set.  Tense 
situation,  remarkably  well  developed.  Not  for  beginners, 
but  possible  for  sincere,  experienced  performers. 

Euripides.  The  Trojan  Women.  3  m.  4  f.  Chorus,  etc. 
Powerful  tragedy  showing  horrors  of  war.  Cast  may  be 
large  or  small,     i  set.    Makes  a  strong  appeal. 

Longmans,  Green  and  Co. 

Fitch,  Clyde.  The  Truth.  4  A.  5  m.  4  f.  2  interiors. 
Excellent  treatment  of  a  good  theme.  Some  roles  exacting. 
Successful  on  professional  stage.  Samuel  French. 

France,  Anatole.  Crinquebille.  3  A.  10  m.  4  f.  Extras. 
Vivid  character  study  of  old  French  huckster.  Several 
good  roles,  but  the  lead  demands  finished  character  acting. 
Two  sets.  Samuel  French. 

Galsworthy,  J.  The  Pigeon.  3  A.  12  m.  2  f.  While 
hardly  more  than  a  character  study  amateurs  can  make  this 
telling.    Two  parts  rather  difficult.    Not  for  all  audiences. 

G.  P.  Putnam's  Sons. 

— Strife.  3  A.  Some  30  roles.  Extras.  The  labor  ques- 
tion. Most  audiences  respond  to  this.  The  acting  is  not  too 
exacting. 

— The  Silver  Box.  3  A.  3  interiors.  Large  cast.  Com- 
edy. Lighter  in  substance  than  these  others,  but  good  ma- 
terial for  production.     Contrast  of  classes. 

Gates,  E.  The  Poor  Little  Rich  Girl.  3  A.  15  m.  10  f. 
Fancy  and  fact  combined.  Several  scenes.  Chances  for 
original  stage  sets.    Good.  Grosset  and  Dunlap. 

Gogol,  N.  V.    The  Inspector-General.    4  A.    Very  large 


SUITABLE  FOR  AMATEURS  231 

cast.  Good  expose  of  grafting  city  affairs.  Characters,  in- 
cidents good.    Long  a  popular  play.         Alfred  A.  Knopf. 

Goldsmith,  Oliver.  She  Stoops  to  Conquer.  5  A.  6  m.  4  f. 
Extras.  One  of  the  best  costume  plays  for  amateurs. 
Most  frequently  produced  by  schools. 

Hankin,  St.  John.  The  Cassilis  Engagement.  4  A.  6  m. 
8  f,  A  mistaken  engagement  is  saved  by  showing  the  man 
what  his  fiancee  is  really  like.    Good  acting  parts. 

— The  Charity  That  Began  at  Home.  4  A.  6  m.  6  f.  2  in- 
teriors. An  enthusiast  actually  tries  to  put  an  idealistic 
doctrine  into  practice.  Undesirables  at  a  house  party. 
Laughable. 

Harcourt,  Cyril.  A  Pair  of  Silk  Stockings.  3  A.  8  m.  5  f. 
Comedy.  2  interiors.  Laughable  if  played  in  the  proper 
spirit.    A  professional  success.  Dodd,  Mead  and  Co. 

Hastings,  B.  Macdonald.  The  New  Sin.  All  men  parts. 
Not  a  pleasant  story,  but  effective.  Novelty  of  cast  should 
carry  performance.  Samuel  French. 

Hazelton,  G.  and  Benrimo.  The  Yellow  Jacket.  3  A. 
Some  27  roles.  Delightful  Chinese  play  produced  in  novel 
manner.  Little  scenery  required.  Lines  and  incidents  carry 
the  play.  Bobbs-Merrill  Co. 

Hewlett,  Maurice.  Pan  and  the  Young  Shepherd.  2  A.  6 
m.  9  f.  Pastoral,  Good  also  for  outdoors.  Grouping  pic- 
turesque. William  Heinemann. 

Houghton,  Stanley.  Hindle  Wakes.  3  A.  4  m.  5  f.  Two 
interiors.  Effective  play  with  new  turn  to  familiar  situation. 
Requires  sincere  acting.  Quite  possible  for  most  mature 
amateurs.    For  sophisticated  audiences.         Luce  and  Co. 

Housman,  Laurence  and  Barker,  Granville.  Prunella.  3 
A.  Charming  fantasy.  Costumes.  One  set.  May  include 
many  people.     Requires  proper  treatment  for  atmosphere. 

Little,  Brown  and  Co. 


232  TWO  HUNDRED  PLAYS 

Housman,  Laurence.  The  Chinese  Lantern.  3  A.  6  m.  2 
f.  Extras.  Oriental  interior.  Every  role  good.  Can  be 
made  beautiful.  Can  be  played  by  all-girl  cast.  Delightful 
fantasy.    Frequently  produced  by  schools  and  colleges. 

Samuel  French. 

Ibsen,  Henrik.  A  Doll's  House.  3  A.  4  m.  4  f .  Children. 
One  interior.  Most  frequently  acted  play  by  this  master 
of  stage  situation.  Leading  role  difficult.  Play  can  be  made 
effective  if  acted  in  proper  key.        Charles  Scribner's  Sons. 

— Pillars  of  Society.  4  A.  10  m.  9  f.  One  interior.  An 
interesting  arraignment  of  smug  hypocrisy  unmasked  after 
years  of  apparent  security.  Not  too  difficult,  though  it  must 
be  conscientiously  acted.     Good  for  all  audiences. 

James,  Henry.  The  Reprobate.  3  A.  6  m.  4  f.  Usual 
English  interior.  Excellent  farce-comedy.  Not  too  easy, 
but  worth  doing  well.  Recently  produced  successfully  in 
England.  Charles  Scribner's  Sons. 

Jerome,  Jerome  K.  Fanny  and  the  Servant  Problem,  also 
called  Lady  Bantock..  4  A.  5  m.  6  f.  Extras.  One  in- 
terior. Excellent  in  every  respect.  Frequently  produced  by 
amateurs.  Samuel  French. 

— Miss  Hobbs.  4  A.  6  m.  5  f.  Acting  not  difficult,  but 
one  set  in  cabin  of  boat.  A  good  play  for  amateurs  of  somr 
practice. 

— Passing  of  the  Third  Floor  Back.  Excellent  character 
study.  One  interior.  Lead  difficult.  Other  roles  not.  Can 
be  effective. 

Jones,  Henry  Arthur.  The  Lie.  4  A.  5  m.  5  f .  Contrast 
between  two  sisters.  Rather  drab  story.  Excellent  as  play- 
Roles  require  good  acting.    Sets  not  easy. 

George  H.  Doran  Co. 

— The  Liars.    4  A.  10  m.  6  f.    Bright  comedy  of  English 


SUITABLE  FOR  AMATEURS  233 

society.    Not  too  easy  to  act.    Effective.     Sets  fairly  dif- 
ficult. Samuel  French. 

— Mary  Goes  First.  3  A.  8  m.  4  f.  Social  jealousies. 
Leading  woman  good  role  for  finished  actress.  Not  too  dif- 
ficult otherwise.  Doubleday,  Page  and  Co. 

Jonson,  Ben.  The  Sad  Shepherd.  15  m.  6  f.  Excellent 
for  outdoors  also.  Poetic  idyl.  Frequently  produced  by 
schools  and  colleges.  Amateurs  could  easily  present  this  as 
a  novel  contrast.  E.  P.  Button  and  Co. 

Kalidasa.  Sakuntala.  Some  30  roles.  In  cut  form  a 
good  series  of  scenes.  If  scenery  be  used  many  changes  re- 
quired. Always  worth  producing.  Chance  for  artistic  ori- 
ginality. Everyman  Library. 

Lyly,  John.  Alexander  and  Campaspe.  24  m.  (or  fewer) 
2  f.  Elizabethan  comedy  of  Greek  plot.  May  be  made  at- 
tractive by  pictorial  appeal.     Girls  alone  might  do  it. 

Mackaye,  Percy.  A  Thousand  Years  Ago.  4  A.  9  m.  2 
f.  Many  extras.  Story  slight.  Costumes,  incidents  carry 
the  play.     Several  sets.     Stage  pictures  may  be  beautiful. 

Doubleday,  Page  and  Co. 

Masefield,  John.  The  Tragedy  of  Nan.  3  A.  8  m.  5  f. 
Strong,  stark  story  of  rural  England  over  a  century  ago. 
Requires  careful  producing,  excellent  acting. 

Mitchell  Kennerley. 

Mason,  A.  E.  W.  Green  Stockings.  4  A.  4  m.  5  f .  Two 
interiors;  may  be  played  in  one  only.  All  roles  good.  Older 
sister  invents  hypothetical  suitor  who  appears  in  the  flesh. 

Samuel  French. 

Maugham,  S.  The  Tenth  Man.  3  A.  10  m.  3  f.  He  is  an 
honest  one.  Strong.  The  guile  of  politics.  Setting  rather 
difficult.  Drama  Pub.  Co. 

— Lady  Frederick.    3  A.  8  m.  5  f.    Comedy  of  English  so- 


234  TWO  HUNDRED  PLAYS 

ciety.    2  sets.    A  few  of  the  roles  exacting.    Requires  cor- 
rect tone.  Samuel  French. 

Milne,  A.  A.  Belinda.  3  A.  3  m.  3  f.  Supposed  widow, 
presenting  daughter  as  niece,  keeps  two  suitors  dangling. 
Husband  returns.    Delightful  comedy.    All  roles  good. 

Alfred  A.  Knopf. 

Moffett,  G.  Whejt  Bunty  Pulls  the  Strings.  3  A,  5  m. 
5  f.  Extras.  Realistic  pictures  of  canny  Scots.  Good 
comedy.    Dialect  the  chief  difficulty.    Good  character  parts. 

Sanger  and  Jordan. 

Moliere.  Doctor  in  Spite  of  Himself.  3  A.  8  m.  3  f.  2 
sets.  Good  acting  parts.  One  of  the  best  plays  for  ama- 
teurs.   Parts  almost  carry  themselves. 

— The  Miser.  5  A.  10  m.  4  f.  Extras.  French  interior. 
Costumes,  17th  Century.  Some  roles  require  excellent  act- 
ing.    Worth  producing. 

— Le  Bourgeois  Gentilhomme.  5  A.  (or  fewer)  11  m.  4  f. 
Extras.  One  set,  interior.  Music,  dancing,  may  be  included. 
Not  difficult.  Conclusion  an  oriental  spectacle.  Excellent 
for  schools,  colleges. 

Molnar,  F.  The  Devil.  3  A.  7  m.  7  f.  Novel.  Excel- 
lent. For  sophisticated  audiences.  Leading  man  difficult 
to  act,  Mitchell  Kennerley, 

Noyes,  Alfred,  Sherwood.  5  A.  22  roles.  Extras.  Out- 
door pageant-play.  Good  to  introduce  large  groups.  Fre- 
quently given.    Good  for  community  purposes. 

F.  A.  Stokes  Co. 

ONeill,  Eugene.  Beyond  the  Horizon.  3  A.  6  m.  2  f, 
I  child.  2  sets.  Distinctive  tragedy  of  grim  American  life. 
Contrast  of  two  brothers;  each  does  the  wrong  thing.  Lead- 
ing role  difficult.  Boni  and  Liveright. 

Parker,  Louis  N.     The  Aristocrat.    3  A.  15  m.  5  f.    Ex- 


SUITABLE  FOR  AMATEURS  235 

tras.    Reign  of  Terror,    Large  cast.    3  sets.    Leading  role 
excellent.    Several  require  finished  acting.         John  Lane. 

Peabody,  Josephine  Preston.  The  Piper.  4  A.  24  roles. 
Though  sets  are  rather  difficult,  amateurs  can  produce  this. 
Leading  role  rather  difficult. 

Houghton  Mifflin  Co. 

Peele,  George.  Arraignment  of  Paris.  5  A.  (or  fewer)  17 
m.  24  f.  Suitable  also  for  outdoors.  Beautiful  costumes, 
groupings,  dances.    Should  be  treated  as  masque. 

Houghton  Mifflin  Co. 

Pinero,  Arthur  Wing.  The  Gay  Lord  Quex.  4  A,  4  m. 
10  f.  Extras.  A  popular,  good  comedy.  Settings  rather 
elaborate.    Always  effective.    A  few  roles  exacting. 

Baker  and  Co. 

— The  Amazons.  3  A.  7  m.  5  f.  Farcical  romance.  Wood- 
land, and  gymnasium  interior.  Three  daughters  raised  as 
boys  attract  unexpected  suitors  and  revolt  from  masculin- 
ity to  their  own  charming  sex.  Roles  and  situations  good. 
Always  effective.    Not  difficult. 

— Trelawney  of  the  Wells.  3  A.  Large  cast.  4  easy  in- 
teriors. Costumes  of  i860.  Sentimental;  but  effective  if 
properly  acted. 

Robertson,  F.  W.  David  Garrick.  3  A.  9  m.  3  f.  Sim- 
ple interiors.  Costumes  of  i8th  Century  make  attractive 
stage  pictures.     Leading  role  good  acting  part. 

Penn  Pub.  Co. 

Robinson,  L.  The  White-Headed  Boy.  3  A.  5  m.  7  f.  i 
interior.  An  Irish  family  has  tried  to  make  a  genius  of  a 
stupid  son.  They  are  outwitted.  Good  comedy.  Excellent 
roles.    Easy  to  produce.  T.  Fisher  Unwin. 

Rostand,  Edmond.  The  Romancers  (also  called  Fantas- 
ticks).    3  A.  5  m.  I  f.    Extras.    "  Costumes  may  be  any- 


236  TWO  HUNDRED  PLAYS 

thing,  provided  they  are  beautiful,"    One  garden  set.    De- 
lightful fantasy;  successful.  Baker  and  Co. 

Sardou,  Victorien.  A  Scrap  of  Paper.  3  A.  6  m.  6  f. 
Old-fashioned,  but  still  good.  Situations  and  roles  can  be 
so  produced  as  to  interest  and  hold  audiences  that  are  not 
too  familiar  with  the  play.  Baker  and  Co. 

Shaw,  G.  Bernard.  Candida.  3  A.  4  m.  2  f .  One  set,  in- 
terior.   Requires  good  acting.    Every  role  a  good  one. 

Brentano. 

— You  Never  Can  Tell.  4  A.  6  m.  4  f .  Farcical  expose  of 
parents  and  children.  This  almost  carries  itself.  Sets  dif- 
ficult. 

— Pygmalion.  5  A.  7  m.  7  f .  Extras.  Excellent.  Requires 
excellent  acting.    Sets  difficult.    Parts  good. 

— Getting  Married.  8  m.  5  f.  One  set.  If  divided  into  3 
acts  as  on  professional  stage  this  will  please  thoughtful  so- 
phisticated audiences.    Acting  rather  difficult. 

Sheridan,  R.  School  for  Scandal.  5  A.  12  m.  4  f.  Ex- 
tras. Excellent  costumed  play.  Not  for  sophisticated  thea- 
ter goers.    Good  for  schools.     Many  sets. 

Sigurjonsson,  J.  Eyvind  of  the  Hills.  4  A.  7  m.  5  f. 
Novel  Icelandic  story.  Sets  rather  difficult.  Stage  pictures 
beautiful.    Tragic.    Two  exacting  roles. 

American-Scandinavian  Foundation. 

Sophocles.  Antigone.  5  m.  3  f.  Chorus,  etc.  Single  set- 
ting. Affecting  Greek  tragedy.  May  be  done  with  Men- 
delssohn's music  sung  and  danced  by  chorus.  May  be  done 
by  girls  only.  Baker,  etc. 

Stevens,  Thomas  Wood.  Pageant  of  the  Italian  Renais- 
sance. 52  m.  2  f.  Beautiful  spectacle,  admitting  of  elabo- 
rate costuming,  grouping.  Effective  out  of  doors  also.  Blank 
verse.    Characters  presented  in  novel  manner. 

A.  C.  McClurg. 


SUITABLE  FOR  AMATEURS  237 

Sudermann,  Herman.  Magda.  4  A.  6  m.  8  f.  Strong; 
tense.  Leading  woman  requires  excellent  acting.  Can  be 
effectively  done.     For  sophisticated  audiences. 

Charles  Scribner's  Sons, 

Sutro,  Alfred.  The  Two  Virtues.  4  A.  3  m.  5  f.  Mod- 
ern English  comedy.  2  settings.  Requires  just  the  proper 
kind  of  acting  to  make  impressions.  Brentano. 

— The  Perplexed  Husband.  4  A.  3  m.  4  f.  2  interiors. 
Satire  on  advanced  feminist  ideas.  The  husband  duplicates 
the  wife's  opinions.    Not  difficult.    Effective. 

Synge,  J.  M.  The  Playboy  of  the  Western  World.  3  A. 
7  m.  5  f.  Extras.  Excellent  Irish  farce-comedy.  Not  too 
difficult.    One  interior  set.     Frequently  produced. 

Luce  and  Co. 

Tarkington,  Booth.  Monsieur  Beaucaire.  3  A.  14  m.  7 
f.  Romantic  comedy  of  Bath  in  time  of  Beau  Nash.  Park 
and  3  interiors.  Excellent  acting  roles.  Colorful  costumes 
and  romantic  situations  carry  this.    Not  too  difficult. 

Baker  and  Co. 

Thoma,  Ludwig.  Moral.  3  A.  9  m.  7  f.  Extras.  An 
attack  on  smug  self-righteousness.  Plot  not  too  original, 
but  situations  and  roles  good.  Not  too  difficult.  For  so- 
phisticated audiences.  Alfred  A.  Knopf. 

Thomas,  Augustus  A.  Her  Husband's  Wife.  3  A.  3  m. 
3  f.  One  interior.  Amusing  cure  of  the  too  solicitous  wife. 
All  parts  good.    If  well  played,  effective;  if  not,  dull. 

Doubleday,  Page  and  Co. 

Upward,  Allen.  Paradise  Found.  3  A.  10  m.  6  f.  Ex- 
tras. What  would  happen  if  all  the  ideas  of  G.  Bernard 
Shaw  were  carried  out.  A  reductio  ad  absurdum  of  Utopian 
schemes  for  the  future.  Houghton,  Mifflin  Co. 

Wilde,  Oscar.    The  Importance  of  Being  Earnest.    3  A.  5 


238  TWO  HUNDRED  PLAYS 

m.  4  f.    Always  effective.    Situations  almost  act  themselves. 
Be  sure  it  is  somewhat  of  a  novelty  for  your  audience. 

Luce  and  Co. 

— Lady  Windemere's  Fan.  4  A.  7  m.  9  f.  Better  play 
than  preceding.  More  difficult.  Actors  must  seem  perfectly 
natural  in  their  social  relations.  Leading  woman  difficult 
role. 

Williams,  Jesse  Lynch.  Why  Marry?  3  A.  7  m.  3  f.  One 
set.  All  roles  good.  Humorous  study  of  problems  of  vari- 
ous kinds  of  marriages.  Amateurs  can  make  a  good  pro- 
duction of  this,  Charles  Scribner's  Sons. 

Yeats,  W.  B.  The  Unicorn  from  the  Stars.  3  A.  8  m.  2 
f.  An  Irish  uprising  based  on  the  prophecy  of  a  beggar. 
After  one  night  of  pillage  a  bitter  ending.  Good  types.  Can 
be  made  effective.  The  Macmillan  Co. 

Zamacois,  Miguel.  The  Jesters.  4  A.  13  m.  2  f.  Ro- 
mantic, poetic.  Costumes,  settings  of  1557,  beautiful. 
Fairly  difficult.     4  sets.  Brentano. 

Zangwill,  Israel.  The  Melting  Pot.  4  A.  5  m.  4  f.  The 
American  assimilation  of  the  alien.  Sets  fairly  difficult. 
Appeal  good.    Requires  good  acting. 

The  Macmillan  Co. 

B — One  Hundred  One-Act  Plays 

Akins,  Zoe.  The  Magical  City.  7  m.  2  f.  The  lure  of 
the  irregular  life  of  New  York.  Its  influence  upon  a  young 
artist.  Interior  set.  Not  too  easy,  but  effective.  For  so- 
phisticated audiences.  Forum,  1916. 

Aldis,  Mary.  Mrs.  Pat  and  the  Law.  2  m.  2  f.  i  boy. 
Amusing  Irish  family  in  the  slums.  Requires  one  good 
child.  Father  and  mother  good  acting  parts.  Uniformly 
successful.  Duffield  and  Co. 


SUITABLE  FOR  AMATEURS  239 

Andreev,  L.  Love  of  One's  Neighbor.  Large  cast.  One 
requirement  of  setting  slightly  difficult.  Effect  good.  Sur- 
prise ending.  Egmont  Arens. 

Augier,  Emile.  The  Post  Scriptum.  i  m.  i  f.  Both 
roles  good.  Modern  interior.  Bright  comedy.  Frequently 
produced.  Samuel  French. 

Barrie,  James  M.  The  Old  Lady  Shows  Her  Medals.  2 
m.  4  f.  The  best  English  play  on  the  War.  3  scenes.  One 
old  character  woman  requires  finished  pathos. 

Charles  Scribner's  Sons. 

— The  Twelve  Pound  Look.  2  m.  2  f .  A  bore  of  a  man  of 
affairs  sees  in  his  second  young  wife's  eyes  the  look  that  led 
his  first  wife  to  independence.    Good,  if  well  acted. 

Baring,  Maurice.  Fvatherine  Parr,  i  m.  2  f.  A  farcical 
scene  between  Henry  VIII  and  his  wife  over  the  eggs  and 
coffee.    Always  effective.  Houghton,  Mifflin  Co. 

— The  Aulis  Difficulty.  2  m.  4  f.  A  comedy,  irreverent 
treatment  of  a  well-known  Greek  episode.  Exterior.  If 
beautifully  set  the  contrasting  farce  is  all  the  better. 

Beach,  L.  The  Clod.  4  m.  i  f.  Civil  War.  Interior. 
Strong  conclusion.  Successful  by  amateurs  and  in  vaude- 
ville.   Strong  part  for  woman. 

Doubleday,  Page  and  Co. 

Benavente,  Jacinto.  His  Widow's  Husband.  4  m.  3  f. 
Successfully  presented  by  many  amateurs.  Modern  Spanish 
interior.     Good  roles.    Amusing  situation. 

Charles  Scribner's  Sons. 

— No  Smoking.  2  m.  2  f.  Extras.  European  train  com- 
partment.   Farce.    Chance  for  original  setting. 

Drama,  191 7. 

Bernard,  Tristan.  French  without  a  Master.  5  m.  2  f. 
Reliable ;  frequently  performed  series  of  laughable  complica- 


240  TWO  HUNDRED  PLAYS 

tions  of  bogus  interpreter  who  speaks  no  French.    Not  dif- 
ficult. Samuel  French. 

Binyon,  Laurence.  Paris  and  CEnone.  3  m.  4  f.  Tragic 
love  story.  Exterior.  Beautiful  verse  play.  Serves  excel- 
lently as  contrast  in  modern  bill.  Constable  and  Co. 

Brown,  Alice.  Joint  Owners  in  Spain.  Three  old  women 
in  the  poor  house.  Extremely  effective.  Frequently  pro- 
duced.   Good  character  parts.  Baker  and  Co. 

Bynner,  Witter.  The  Little  King.  2  m.  i  f.  2  children. 
Fairly  effective  incident  of  the  French  Revolution.  Verse. 
Requires  two  good  children.  Mitchell  Kennerley. 

Calderon,  George.  The  Little  Stone  House.  5  m.  2  f. 
Russian  living-room.  A  mother  has  been  saving  money  to 
erect  a  tomb  above  the  supposed  grave  of  her  son.  He  re- 
turns from  Siberia,  a  base  convict.  She  informs  the  police. 
Strong,  tense  situation.  Not  too  Russian  for  westerners. 
Successfully  produced.  Sidgwick  and  Jackson. 

Cannan,  Gilbert.  Everybody's  Husband,  i  m.  5  f.  Girl's 
bedroom.  Dainty  treatment;  humorous  criticisms  of  ordi- 
nary opinions.    Always  effective.  Huebsch. 

DAnnunzio,  G.  Dream  of  an  Autumn  Sunset.  Several 
women.  Tragic,  highly-colored  medieval  theme,  on  supersti- 
tion of  harming  an  enemy  by  melting  an  effigy.  Setting 
rather  difficult.  Poet-Lore,  Vol.  15. 

Davis,  Richard  Harding.  Blackmail.  3  m.  i  f.  Tense 
melodrama  of  fairly  old  fashion,  but  still  effective.  Easy 
interior.    In  Page,  B.    Writing  for  Vaudeville. 

Dell,  Floyd.  The  Angel  Intrudes.  3  m.  i  f.  2  sets.  Not 
difficult.    Effective  satire.    Easily  acted. 

Egmont  Arens. 

DeMille,  William.    Food.    2  m.  i  f.    An  amusing  satire 


SUITABLE  FOR  AMATEURS  241 

on  the  High  Cost  of  Living.     Successfully  produced  in 
vaudeville.    Easily  produced.  Samuel  French. 

Down,  Oliphant.  The  Maker  of  Dreams.  2  m.  i  f .  Fan- 
tasy. Can  be  made  beautiful,  dainty.  Requires  lightness 
of  presentation.  Samuel  French. 

Dunsany,  Lord.  Fame  and  the  Poet.  2  m.  i  f.  A  clever 
attack  upon  the  world's  treatment  of  its  artists.  A  new 
turn  to  the  theme.    Easily  acted. 

Atlantic  Monthly,  1919. 

— The  Glittering  Gate.  A  dialogue  outside  the  Gate  of 
Heaven.  Two  criminals,  and  their  discovery.  Setting  can 
be  remarkably  unique.  Mitchell  Kennerley. 

— The  Lost  Silk  Hat.  5  m.  Farcical  situation  for  men. 
House  exterior.    Always  effective.     Frequently  acted. 

— The  Queen's  Enemies.  9  m.  2  f.  Extras.  A  queen  of 
old  Egypt  traps  her  enemies  in  a  chamber  below  the  Nile. 
Spectacular  tragedy.     Excellent  chance  for  setting. 

Luce  and  Co. 

— A  Night  at  an  Inn.  8  m.  One  of  the  best  one-act 
tragedies.  English  interior.  Oriental  god  regains  a  stolen 
jewel.  Sunwise  Turn,  N.  Y. 

Evreinov,  N.  Theater  of  the  Soul.  5  m.  4  f.  Unique. 
Not  for  novices.  Staging,  acting  difficult.  For  sophisticated 
people.  Egmont  Arens. 

Fenn  and  Pryce.  ^Op-o-Me-Thumb.  i  m.  5  f.  Good 
character  parts.  One  strong  girl  role.  Laundry  interior. 
Humorous,  pathetic.  Samuel  French. 

France,  Anatole.  The  Man  Who  Married  a  Dumb  Wife. 
7  m.  2  f.  Uproarious  comedy  made  famous  by  its  unique 
stage  settings.  Just  as  good  if  simply  set.  Early  French 
costumes.  John  Lane. 

Fulda,  Ludwig.    By  Ourselves.     Practically  a  dialogue. 


242  TWO  HUNDRED  PLAYS 

The  much  entertaining  husband  wishes  guests  would  not  ar- 
rive. Poet-Lore,  Vol.  23. 

Gale,  Zona.  Neighbors.  2  m.  6  f.  Frequently  produced. 
Homely  picture  of  interplay  of  feeling  in  rural  community. 
Secures  response.  Huebsch. 

Gerstenberg,  Alice.  Overtones.  4  f.  Not  difficult.  Ef- 
fective. Attractive  interior.  Successful  for  amateurs  and 
vaudeville.  Doubleday,  Page  and  Co. 

Gibson,  Wilfrid  Wilson.  On  the  Threshold,  i  m.  2  f. 
Cottage  interior.  Poetic.  Not  dramatic.  Could  serve  as 
interlude.  Macmillan  and  Co. 

— Mates.  I  m.  2  f.  Cottage  interior.  Poetry.  Mother 
and  sweetheart  cannot  keep  miner  from  the  pit  and  his 
mates. 

Glaspell,  Susan.  Trifles.  3  m.  2  f.  A  stark  drama  of  dull 
life  in  our  middle  west.    Always  effective.    Kitchen  interior. 

Frank  Shay. 

— and  Cook,  G.  C.  Suppressed  Desires,  i  m.  2  f.  A 
satire  on  psycho-analysis.  2  scenes.  Easily  acted.  Both  of 
these  frequently  produced.    They  make  good  contrasts. 

Frank  Shay. 

Goodman,  E.  Eugenically  Speaking.  3  m.  i  f.  A  girl 
carries  out  the  principle  to  the  consternation  of  her  family. 
A  good  farcical  situation.    Frequently  acted. 

Doubleday,  Page  and  Co. 

Goodman,  K.  S.  and  Hecht,  Ben.  The  Hero  oj  Santa 
Maria.  4  m.  3  f.  Extras.  Ordinary  interior.  Excellent 
satire  on  small  town  matters.  Frank  Shay. 

— Dust  of  the  Road.  3  m.  i  f .  Christmas  play.  A  chance 
visitor  awakens  a  dormant  conscience.  Delicate  evocation 
of  the  mysterious  border-land  of  reality. 

Stage  Guild,  Chicago. 


SUITABLE  FOR  AMATEURS  243 

Gregory,  Lady.  Hyacinth  Halvey.  4  m.  2  f.  Street  be- 
fore a  post-office,  small  Irish  town.  A  good  play  for  ama- 
teurs.   Dialect  not  beyond  them.    Frequently  performed. 

Samuel  French. 

— The  Gaol  Gate,  i  m.  2  f.  Outside  a  prison.  Requires 
careful  acting  to  make  impression.  Quite  within  amateur 
range. 

Hankin,  St.  John.  The  Constant  Lover,  i  m.  i  f.  A 
dialogue.  Constant  means  constantly  in  love — not  neces- 
sarily with  the  same  girl.  John  Lane. 

— The  Burglar  Who  Failed,  i  m.  2  f.  Girl's  bedroom. 
She  tames  a  fierce  looking  timid  amateur  thief.    Easy. 

Hellem,  Valcros,  and  d'Estoc.  Sabotage.  2  m.  2  f.  Ex- 
tras. Tense  strike  situation.  Should  be  well  acted.  Easy 
interior.  Has  been  effective  in  the  original  French,  and  in 
English.  Dramatist,  19 15. 

Houghton,  Stanley.  The  Dear  Departed.  3  m.  3  f .  Ex- 
cellent comedy.  Grandfather's  heirs  squabble  for  his  prop- 
erty— too  soon.  Samuel  French. 

— Fancy  Free.  2  m.  2  f .  A  satire  on  the  triangle.  Phil- 
andering husband  and  flirting  wife  brought  together. 

Izumo,  Takeda.  Bushido,  also  called  Matsuo,  and  The 
Pine  Tree.  18  roles.  Extras.  Tragic  incident  of  Japanese 
loyalty.  Requires  skill  in  producing  its  effects.  Chance  for 
beautiful  set,  costumes,  stage  pictures.    Fairly  large  cast. 

Duffield  and  Co. 

Jones,  Henry  Arthur.  Her  Tongue.  2  m.  2  f.  Ex- 
travagant, but  laughable.  Man  returns  to  secure  wife.  The 
one  recommended  talks  too  much.    Both  leading  roles  good. 

George  H.  Doran  Co. 

Kreymborg,  Alfred.  Mannikin  and  Minnikin.  An  inter- 
esting dialogue.    Two  figures  on  a  mantle.    Novel  contrast. 

Others,  N.  Y. 


244  TWO  HUNDRED  PLAYS 

Langner,  Laurence.  Another  Way  Out.  2  m,  3  f.  Ar- 
tist's studio.  All  roles  good.  A  farcical  treatment  of  a 
Bohemian  menage.     For  sophisticated  audiences. 

Frank  Shay. 

Mackaye,  Percy.  Chuck.  3  m.  i  f.  Good  situation  of 
rebellion  against  Puritan  restraint.  Exterior.  Requires 
good  acting.  Duffield   and  Co. 

Matterlinck,  Maurice.  The  Intruder.  3  m.  5  f.  In- 
terior. Tragic.  Requires  perfect  atmosphere.  Rather  dif- 
ficult. Grandfather  part  demanding.  Has  been  done  effec' 
lively.  Boni  and  Liveright. 

— The  Miracle  of  S.  Anthony.  8  m.  3  f.  Satire  with  a 
good  moral.  Daring.  The  saint  offers  to  bring  back  a  dead 
woman.     Effect  upon  the  family. 

— Interior  (also  called  Home).  4  m.  5  f.  Tragic.  Set 
rather  difficult.  Atmosphere  must  be  correct.  Has  been 
done  effectively. 

Manners,  J.  Hartley.  Happiness.  2  m.  2  f.  Modern 
interior.  Rather  interesting.  Better  than  the  long  ver- 
sion. Dodd,  Mead  and  Co. 

Masefield,  John.  The  Locked  Chest.  3  m.  i  f.  Extras. 
Costume,  Iceland.     Novel  setting.     Some  tense  moments. 

The  Macmillan  Co. 

Massey,  Edward.  Plots  and  Playwrights.  11  m.  6  f. 
Doubles  possible.  4  scenes,  really  2  acts.  Satire  on  the 
regular  drama  and  better  drama.  Excellent  little  theater 
material.  Frequently  produced.  Playwright  seeks  drama- 
tic material.  Harcourt,  Brace  &  Co. 

Mencken,  H.  L.  The  Artist.  7  m.  3  f.  or  more.  One 
character  on  stage,  large  number  in  the  audience.  The 
speeches  are  the  thoughts  of  people  during  a  pianist's  recital. 

Alfred  A.  Knopf. 


SUITABLE  FOR  AMATEURS  245 

Middleton,  George,  Embers..  2  m.  i  f.  Modern  Ameri- 
can interior.  Acting  fairly  difficult.  Can  be  made  quite 
effective.  Henry  Holt  and  Company. 

— The  Cheat  of  Pity.  2  m.  i  f .  Modern  interior.  Excel- 
lent treatment  of  alternation  of  pity  and  love  between  a 
woman  and  a  man.  Not  too  difficult  if  played  with  con- 
vincing quietness.     Dramatic  climax. 

Millay,  Edna,  St.  V.  Aria  da  Capo.  4  m.  i  f.  A  Pierrot- 
Columbine  play,  fancifully  but  interestingly  showing  how 
little  the  usual  people  have  been  affected  by  the  great  events 
of  recent  years.    Black  and  white  interior. 

Chapbook,  1920. 

Moeller,  Philip.  Helena's  Husband.  3  m.  2  f.  Helen  of 
Troy  and  Paris  treated  farcically;  references  to  recent 
events.    Settings  and  costumes  may  be  burlesqued. 

Alfred  A.  Knopf. 

— Pokey.  6  m.  3  f.  2  scenes,  exterior  set.  Pocahontas, 
John  Smith,  as  they  might  have  been.  Easy  to  act.  Good 
for  amateurs. 

Morrison  and  Pryce.  The  Dumb  Cake,  i  m.  2  f.  Hu- 
morous, pathetic.  Interior  set.  Shows  yearnings  of  a  poor 
girl.  Samuel  French. 

Nathan,  George  Jean.  The  Letters.  3  m.  i  f .  Burlesque 
of  the  hackneyed  situation  in  regular  plays  when  the  hus- 
band finds  the  other  man's  epistles  to  his  wife.  Every 
speech  is  a  single  letter.  Alfred  A.  Knopf. 

O'Neill,  Eugene.  Emperor  Jones.  8  scenes.  8  m.  3  f. 
Pullman  porter  sovereign  in  an  island.  Seeks  to  flee.  Re- 
verts to  his  own  people.  Original,  strong.  Leading  role  re- 
quires excellent  acting.  Theater  Arts,  192 1. 

— 'He.  5  m.  I  f.  Extras.  Cabin  interior.  Stark  drama 
of  a  sea  captain  whose  wife  yearns  to  be  taken  back,  while 


246  TWO  HUNDRED  PLAYS 

he  pushes  on  after  whales.    These  two  parts  require  good 
acting.  Boni  and  Liveright. 

Oppenheim,  James.  Night.  4  m.  i  f.  Symbolic,  poetic. 
Remarkably  effective  if  production  is  correct. 

Egmont  Arens. 

Palmer,  John.  Over  the  Hills.  2  m.  2  f.  One  set.  Two 
scenes.  Good  situation  of  the  sedentary  man  who  yearns 
for  the  great  out-doors.  Smart  Set,  19 15. 

Phillips,  Stephen.  Nero's  Mother.  2  m.  3  f.  Extras.  A 
good  situation  with  two  good  acting  parts.  Can  be  beau- 
tifully but  simply  staged.  John  Lane. 

Phillpotts,  Eben.  The  Carrier  Pigeon.  2  m.  i  f.  all  old. 
Cottage  bedroom.  Old  poacher  squares  with  his  enemy. 
Excellent.  Duckworth. 

Quinteros.  A  Sunny  Morning.  Humorous  Spanish 
scene.  Colorful.  Two  good  parts.  Permits  original  set- 
ting. Poet-Lore,  Vol.  27. 

Rice,  Cale  Young.  The  Immortal  Lore.  4  roles.  Tra- 
gedy, ancient  India,  poetry.    Excellent  for  contrast. 

Doubleday,  Page  and  Co. 

Rogers,  Robert  E.  Behind  a  Watteau  Picture.  14  m.  2 
f.  Beautiful,  poetic,  novel.  Always  effective  when  well 
done.  Baker  and  Co. 

Rostand,  Edmond.  The  Romantics,  also  called  Fantas- 
tics.  Act  I  makes  a  charming  costume  play.  Poetic.  5  of 
the  parts  are  excellent.    Garden  set.  Baker  and  Co. 

Schnitzler,  Arthur.  Anatol.  5  scenes.  Small  casts.  All 
good.  Clever,  satiric  situations  of  irregular  amours.  Dia- 
logue alone  almost  carries  them.  Any  one  may  be  given, 
or  all  to  fill  an  evening.     For  sophisticated  audiences, 

Mitchell  Kennerley. 

— Literature.    2  m.  i  f.    How  two  lovers  used  their  letters 


SUITABLE  FOR  AMATEURS  247 

as  book  material.    Clever,  satiric.    Easy  to  produce.     For 
sophisticated  audiences.  Stewart  and  Kidd. 

Shaw,  Bernard.  The  Dark  Lady  of  the  Sonnets.  2  m.  2 
f.  Shakespeare,  Elizabeth.  Beautiful  stage  pictures.  Al- 
ways effective.  Brentano. 

— Press  Cuttings.  3  m.  3  f.  Easy  interior.  All  roles 
good,    A  ludicrous  satire  on  interesting  topics. 

— How  He  Lied  to  Her  Husband.  2  m.  i  f.  Interior.  A 
clever  turn  to  a  trite  situation.    Always  successful, 

— The  Man  of  Destiny.  3  m.  i  f.  Set  simple  or  elabo- 
rate.   Incident,  early  life  of  Napoleon, 

Stevens,  Thomas  Wood.  Holbein  at  Blackfriars.  6  m.  2  f. 
The  artist's  studio.  Delightful  comedy  of  a  meeting  be- 
tween Henry  VIII  and  the  painter.  Characters  excellent. 
Costumes  produce  beautiful  stage  pictures. 

Stage  Guild,  Chicago. 

Strindberg,  August.  Simoon..  2  m.  i  f.  Tragedy  of  the 
desert.    Interior.    Highly  wrought.     Requires  good  acting. 

Charles  Scribner's  Sons. 

— The  Stronger^  An  original  dialogue  in  which  one  wo- 
man does  all  the  talking;  the  other  must  act  so  well  that  she 
appears  to  be  the  stronger. 

Sudermann,  H.  Fritzchen.  5  m.  2  f.  One  of  the  best  one- 
act  tragedies  ever  written.  Interior  set.  A  poignant  play 
of  Prussian  militarism. 

Charles  Scribner's  Sons. 

— The  Far-Away  Princess.  2  m.  7  f.  Charming  treat- 
ment of  how  a  princess  responds  to  a  chivalrous  admiration. 
Excellent  for  young  people. 

Sutro,  Alfred.  The  Man  in  the  Stalls.  Also  called  The 
Man  Out  Front.  2  m.  i  f.  Interior.  An  original  twist 
to  the  usual  triangle.    Telling  conclusion.  Brentano. 


248  TWO  HUNDRED  PLAYS 

Symons,  Arthur.  Cleopatra  in  Judaea.  7  m,  3  f.  Color- 
ful oriental  pictures.  Two  good  acting  roles.  Excellent 
contrast  with  modern  plays.  John  Lane. 

Synge,  John  M.  The  Tinker's  Wedding.  2  m.  2  f.  2 
scenes.  Exterior.  Tricks  of  a  traveling  group  of  ne'er-do- 
wells.  One  of  the  best  known  and  most  frequently  acted 
Irish  comedies.  Luce  and  Co. 

— The  Shadow  of  the  Glen.  3  m.  i  f .  Next  in  popularity, 
perhaps,  to  the  preceding.  A  poetic  tramp.  Interior.  Fairly 
easy  for  amateurs.     Dialect  requires  care. 

— Riders  to  the  Sea.  i  m.  3  f.  Extras.  One  of  the  best 
tragedies.  Requires  excellent  acting  to  produce  proper  ef- 
fect.   Old  woman's  part  difficult.    Rude  interior. 

Tagore,  Rabindranath.  Chitra.  4  roles.  Novel  for  out- 
doors. Villagers.  Everything  depends  upon  method  of  pro- 
duction. Macmillan  and  Co. 

Tarkington,  Booth.  Beauty  and  the  Jacobin.  3  m.  4  f. 
Humorous,  tense  scene  from  French  Revolution.  Almost  a 
one  man  play.  Harper  Bros. 

Tchekoff,  Anton,  A  Marriage  Proposal.  2  m.  i  f.  Easy 
to  produce.  Simple  Russian  interior.  Frequently  performed. 
All  parts  good.  Samuel  French. 

Torrence,  Ridgley.  The  Rider  of  Dreams.  2  m.  i  f.  i 
child,  all  negroes.  Interior.  The  father  and  husband  lets 
his  imagination  run  away  with  him.  This  role  and  the  wife 
are  good  acting  parts.  Macmillan  and  Co. 

Walker,  Stuart.  Never-the-Less.  i  m.  i  boy,  i  girl. 
Two  delightful  children.  Whimsical.  Can  be  simply  set. 
A  delightful  interlude.  Stewart  and  Kidd. 

Wilde,  Percival.  Pawns.  6  m.  An  excellent  preachment 
against  war's  horrors.  Eastern  Europe,  The  effect  of  mobil- 
ization upon  simple  peasant  neighbors.    Exterior. 

Little,  Brown  and  Co. 


SUITABLE  FOR  AMATEURS  249 

Yeats,  W.  B.  The  Land  oj  Heart's  Desire.  3  m.  3  f. 
Plain  interior.  Tragic.  Irish  folk-lore.  Requires  care- 
ful production  to  evoke  proper  atmosphere. 

The  Macmillan  Co. 

— Cathleen  Ni  Houlihan,  3  m.  3  f.  Poetic  treatment  of 
war  feeling.  Requires  just  the  proper  treatment  for  its 
effect.    Good  atmosphere. 


INDEX 


Abbey  Players,  143 

Abbey  Theater,  40 

A  Bear,  56 

Acting,   22,   44,  SO,   58,   68,  71, 

207 
Active  membership,   11 
Actors,  29 

Adams,  Miss  Maude,  58 
A  Doll's  House,  182 
Advantages    of    one-act   plays, 

27 

Afgar,  145 

A  Good  Bargain,  no 

Alfeth,  183 

All-girl  cast,  144 

Altruism,  54,  130 

Amber  lighting,  146,  174 

A  Marriage  Has  Been  Ar- 
ranged, 92 

A  Midsummer  Night's  Dream, 
43,  116,  181,  219 

A  Night  at  an  Inn,  58,  73,  no, 
161 

A  Night's  Lodging,  177 

Another  Way  Out,  54 

Androcles  and  the  Lion,  177 

Aphrodite,  145 

Aristophanes,  64 

Aren't  They  Wonders?  50 

Arranging  a  season,  40 

Art  and  Opportunity,  61,  118 

Art  staff,  98 

Art  Theater,  Mosco.v,  181 

Artzibascheff,  189 

Asche,  Oscar,  177 

Assistants,  61 

Associate   membership,    1 1 

As  You  Like  It,  141,  209 

At  the  Villa  Rose,  149 


Audience,   6,   30,   39,   58,    178, 

221 
Audience,   response  of,  223 
Augustus  Does  His  Bit,  91 
Augustus     in     Search     of     a 

Father,  47 
A  Woman's  Way,  60 

Back  of  the  house,  15 
Bacon,  Francis,  55,   136,   138 
Barbara,  51 

Baring,  Maurice,  47,  132 
Barker,  Granville,  43,  61,   115, 

140,   172,   177,   182,  220 
Barrett,  Marie,  57 
Barrie,  James  M.,   17,  87 
Barrymore,  John,  182 
Besier,  Rudolph,  60,  61,  71,  81, 

122 
Beissier,  183 
Belasco,  David,  152,  156 
Benavente,  Jacinto,  57 
Benelli,   Sem,   177 
Bennett,  Arnold,   121 
Benrimo,  28 
Benson  Company,  95 
Benson,  Sir  Frank  R.,  151,  202 
Beyond,  34,  35 
Beyond    the   Horizon,  87,    112, 

182 
Black-Eyed  Susan,  190 
Blue  back-drop,  109,  123 
Bodenheim,  M.,  34 
Border  lights,  158 
Borders,  103 
Bouchier,  Arthur,  149 
Box  set,  100 

Bracco,  Roberto,  41,  52,  179 
Brieux,  Eugene,  183 


251 


252 


INDEX 


Brighouse,  Harold,  S7 
British  Arts  League  of   Serv- 
ice, 46 
Brown,  Alice,  47 
Brown,    Maurice,    160 
Buchanan,  Thompson,  60 
Budget,  16,  18 
Bushido,  50,  54,  144 
Business  committee,  15 

Calderon,  George,  191 

Calthrop,  61,   172,  220 

Candida,   iii 

Cannan,  Gilbert,  57 

Caprice,  53,  133 

Caragiale,  T.  L.,  61 

Carnegie  Institute,  221 

Carrion  an  I  Aza,   116 

Casting,  11,  45,  64,  74 

Cast  reading,  75 

Celtic  Players,  141 

Chapin,  Harold,  47,  61,   118 

Chanticleer,  59 

Characterization,  202,  205 

Characters,      descriptions      of, 

208 
Chesterton,  G.  K.,  61 
Children,  32 
Choosing  a  Career,  50 
Choosing  the  play,  23 
Chu  Chin  Chow,  145,  149,  177 
Churches,  i 
Circles,  58 
Circus  methods,  145 
Classics,  62 

Class  presentation  of  plays,  214 
Classroom   plays,   215 
Coburn,  Charles  D.,  28 
Color,  96,   136,   154 
Color,   painting  with,    171 
Comedie  Frangaise,  54 
Comedies  of  Nations,  52 
Comedies  of  Words,  53 
Committee  on  Memorials,  2 
Community  centers,  2 
Community  drama,  64 
Community  Theater,  7 
Camus,  218,  219 


Contrast  in  a  bill,  48,  49 
ConventionaUzed      pantomime, 

200 
Cooperation,  64 
Cooperative  plans,  16 
Copyright,  2^ 
Copyright  law,  25 
Corneau,  P.  B.,  51 
Costume  plays,  62 
Costumes,   19,   135,  180,  206 
Costuming    Shakespeare   plays, 

140 
Craig,  Gordon,  43,  181 
Crises,  85 

Criticism  of  acting,  224 
Curtains,  94 
Cutting,  67,  77,  86 
Cyclorama,  94,  109,  172 

D'Annunzio,  G.,  41 
DeBussy,  184 
DeCaillavet,  G.  A.,  50 
Delineation,  205 
Dell,  Floyd,  81 
DeMille,  William  C,  180 
DeMusset,  Alfred,  52,  133 
Descriptions  of  Characters,  208 
Development      from     studying 

roles,  213 
Dialogue,  203 

Difficulty  of   one-act   plays,  ^6 
Diminutive  Dramas,  132 
Dimmers,   153 
Director,  65 
Doctor  Faustus,  186 
Don,  61,  71,  81,  122 
Down,  Oliphant,  58 
Dramatic  rights,  27 
Dream  of  an  Autumn  Sunset, 

Dreiser,  Theodore,  34,  35,  57 

Dregs,  7 

Dress    rehearsal,    7,    62,     163, 

222,  223 
Drinkwater,  John,  y6,  lyy 
Dues,   16 
Dunsany,  Lord,  34,  56,  60,  y^, 

no,  131,  145,  161,  205 


INDEX 


253 


Echegaray,  Jose,  6i 
Eckersley,  Arthur,   159 
Educational    development,    213 
Educational  dramatics,  197 
Effects,  69 
Electro,  7,  145 
Elizabethan  manner,  90,  186 
Elisabeth  Cooper,  219 
Emotion,  72 
Errors  in  lighting,   174 
Ervine,  St.  John,  42,  179 
Essay  on  Comedy,  190 
Ettinger,  Karl,  54,  130 
Everybody's  Husband,  57 
Evreinov,  34,  42,  43,  181,  195 
Exercises,  202,  204,  218 
Expense,   16 
Expenses,   18 
Expense  sheets,  21 
Expenses,  miscellaneous,  20 
Experimental    material,    38 
Experimenting,    176 
Experiments,  42 
Eye  for  an  Eye,  61 
Eyvind  of  the  Hills,  187 

Factors  in  choice  of  plays,  28 

Failures,  31 

Fame  and  the  Poet,  205 

Fancy  Free,  91 

Fanny  and  the  Servant  Prob- 
lem, 61,  117 

Faversham,  W.,  177 

Finance  committee,  15 

Finances.  18 

Fines,  12,  28 

Fitch,  Clyde,  60 

Flats,  100 

Flood  light,  159 

Follies,  50 

Food,  180 

Footlights,  153 

Forestage,  154 

47  Workshop,  Harvard,  187, 
221 

Front  of  the  house,  15 

Full-length  plays,  32,  59,  84 

Funds,  5 


Galsworthy,  John,  60,  61,   174, 

183,  189 
Game  of  Chess,  41 
Gammer  Gurton's  Needle,  185 
Gerstenberg,  Alice,  34,  42,  52, 

193 
Getting  Married,  lyy 
Ghosts,  7 
Giacosa,  41,  60 
Gilbert,  61 

Glaspell,  Susan,  54,  y^ 
Glory  of  the  Morning,  56 
Goethe,   182 
Gogol,  N.,  181 
Goldoni,  Carlo,  60 
Goodman,  K.  S.,  51 
Gorky,  M.,  177 
Grand  Guignol,  34,  41 
Greek  costumes,  145 
Greek  tragedy    39 
Green  Stockings,  61,  206 
Greenwich  Village,  54 
Gregory,  Lady,  61,  130,  175 
Grotesques,  34,  35,   194 
Guarantors,  16 

Hadda  Padda,  188 

Hamlet,  95,   112,  142,   161,   182, 

197,  208,  218,  219 
Hammersmith,    Lyric   Theater, 

140 
Hampden,  Walter,  177,  182 
Hankin,    St.   John,   42,    57,   61, 

179 
Harmony,   10 

Harvard,  47  Workshop,  187 
Hastings,  B.  MacDonald,  188 
Hauling,  20 

Hawkbridge,  Winifred,  56 
Hazelton,  George  C,  28 
Head,  Cloyd,  34,  194 
Hecht,   Ben,  34 
Hedda  G abler,  60 
Helena's  Husband,  56 
Her  Husband's  Wife,  61 
Herrick,  Robert,  60 
Her  Tongue,  47 
Hervieu,  Paul,  60 


2  54 


INDEX 


Hindle  Wakes,  122 

Hiring  costumes,  139 

His  Widow's  Husband,  57 

Hoffmanstal,  145 

Honesty,  2^ 

Hopkins,   Arthur,   85,    156,   177 

Houghton,  Stanley,  91,  118 

Housman,    Laurence,    60,    120, 

164 
How's  Your  Second  Act?  85 
How  Very  Shocking,  183 
Humor,  137 

Ibsen,  Henrik,  60,  y^i  183 

Improvisation,  202 

In  April,  55 

Inconsistencies     of     costumes, 

139 
Interiors,   104,  106,  120 
Interpretation,    yy,   81 
In  the  Zone,  34,  36,  57,  73 
Irish  Renaissance,  40 
Italo-Greek  costumes,  141 
Izumo,  Takeda,  50 

Jerome,  Jerome  K.,  61,  117 

Jerrold,  Douglas,  190 

Jogs,   105 

Joint  Owners  in  Spain,  47,  56 

Jones,  Bassett,  158 

Jones,  Henry  Arthur,  47 

Jones,  Inigo,  90 

Jonson,  Ben,  90,  184,  220 

Joy,  61 

Julius  CcEsar,  142,  209,  219 

June  Madness,  60 

Justice,  7,  174 

Kahn,  N.  M.,  51 

Kamban,  188 

Kemp,  Harry,  51 

Kennedy,  Charles  Rann,  173 

Kinds  of  plays,  38 

King  Lear,  87,  95 

Kreymborg,  A.,  34,  iii 

Laboratory  theaters,  8 
Lady  Patricia,  60 


Lady  Windermere's  Fan,  2J0 

Lamb,  Charles,  53 

Langner,  Lawrence,  54 

Laughing  Gas,  34,  35 

Le  Bourgeois  Gentilhomme,  22, 
118 

Leishin,  M.,  51 

Le  Medecin  Malgre  Lui,  ill, 
118 

L'Enfant  Prodigue,  184 

Leonard,  Ellery,  56 

Les  Romanesques,    139 

Lighting,  20,  152 

Lighting  arrangement  for  The 
Chinese  Lantern,  165 

Lighting  equipment,  153 

Lighting,  errors  in,  174 

Lighting  for  emotional  effect, 
172 

Light,  planes  of,  171 

Lima  Beans,  iii 

List  of  short  plays  for  class- 
room study,  215 

Literature,  52 

Little  Theater,  Chicago,  160 

Little  Theater,  New  York,  159 

Local  name,  7 

Lonesome-Like,  57 

L'Oracolo,   169 

Love's  Labor's  Lost,  no,  124 

Lyric  Theater,  Hammersmith, 
140 

Lysistrata,  8,  64 

Macbeth,  70,  141,  210 
MacDougall's  Barn,  8 
Maeterlinck,    Maurice,    55,    92, 

193 
Magic,  61 

Make-up,  20,  135,  146 
Make-up  types,  147 
Malvolio.  71 

Mannikin  and  Minnikin,  34,  35 
Manuscript,  26 
Marlowe,  Christopher,  186 
Masques,  5,  90,   136,   185 
Mason,  A.  E.  W.,  61,  206 
Master  Pierre  Patelin,  57 


INDEX 


255 


Mat  sua,  50 

Maude,  Cyril,  306 

Mecca,  145 

Membership,  11 

Memorials,  2,  3 

Memorial    Theater,    Stratford- 

on-Avon,   141 
Memorizing,  77,  216 
Mencken,  H.  L.,  42,  194 
Mercury  Vindicated,  220 
Meredith,  George,   190 
Metcalf,  James,  157 
Middleton,  George,  58 
Milton,  John,  218 
Miracle  of  St.  Anthony,  55 
Miscasting,  29,  76 
Miss  Nelly  of  N'  Orleans,  174 
Models  of  scenery,  218 
Moeller,  Phillip,  55,  56,  128 
Moliere,  60,  61,  iii 
Money,  16 

Monotony,   10,  49,  87,  1 10,  155 
Monti,  183 
Moore,  George,  219 
Morrison,  Arthur,  58 
Moscow  Art  Theater,  43 
Moveable    footlights,    155 
Movements,  5 
Mrs.  Bumstead-Leigh,  61 
Mrs.  Calhoun,  34,  36 
Music,  14 
Music  director,  14 

Name,  6 
Napoleon,  57 
Neighborhood  House,  7 
New     Shakespeare     Company, 

Stratford-on-Avon,   141 
New    York   Theater    Guild,    8, 

Nirdlinger,  Charles  F.,  50 
Notice  of  copyright,  26 

Obedience,  69 

Objects,  23 

Observation    in   make-up,    151 

Officers,  12 

One-act  plays,  32,  34,  83 


One-act  plays,  advantages,  37 
One-act  plays,  difficulties,  37 
One-act    plays,    stage    settings, 

38 
O'Neill,  Eugene,  34,  57,  72,,  87, 

112,   182 
Open-air  performances,  92 
Organization,  9 
Oriental  costumes,  145 
Orthodoxy,    195 
Over  the  Hills,  58 
Overtones,  42,  52,  193 

Pageants,  5 

Paid  admissions,  17 

Painting   with   color,   171 

Palmer,  John,  58 

Pantomime,    183,    198 

Paradise  Found,  192 

Parody  Theater,  Petrograd,  181 

Participation,  11,  12 

Pelleas  and  Melisande,  92 

Penalties  for  violation  of 
copyright,  27 

Phillips,  Stephen,  125 

Phillpotts,  Eben,  122 

Pierrot  and   the   Widow,  S7 

Pierrot's  Christmas,  183 

Pierrot  the  Prodigal,  ill,  133, 
184 

Pinafore,  60 

Pinero,  Arthur  Wing,  60 

Piracy,  27 

Planes  of  light,  171 

Platforms,   loi 

Play-reading  committee,   14 

Plays  for  classroom  presen- 
tation, 215 

Plays,   full-length,  59 

Plebiscites,  41 

Pokey,  128 

Poldekin,   182 

Policies,  S 

Polonius,  38 

Polti,  182 

Portmanteau  Theater,  8 

Postage,  18 

Princess    Theater,   36 


2s6 


INDEX 


Principles    of    choosing    plays, 

Printing,  18 
Producer,   12 

Productions  committee,  13 
Professional  make-up,   150 
Profiles,  112 
Programs,  specimen,  46 
Prunella,  60 
Pryce,  Richard,  58 
Purpose,  6,  9,  23 
Putnam,  Nina,  W.,  195 

Reading  of  plays,  45 
Realistic  settings,  97 
Reforming  the  drama,  9 
Rehearsal,  19,  62,  64,  220 
Rehearsing,  213 
Reinhardt,  Max,  145,  177 
Rental,  17,  18 

Responses  of  audiences,  223 
Revolving  stage,  94 
Rhythm,  70,  71,  85 
Riders  to  the  Sea,  84,  219 
Richard  III,  182,  218 
Romeo  and  Juliet,  219 
Rostand,  Edmond,  139 
Royalty,  19,  25 

Sabotage,  14 

Sacred  Ground,  60 

Scenery,   17,  93 

Scene  designing,  217 

Scenery  designs,  74 

Scenery  models,  218 

School  courses,  197 

School  stage  equipment,  115 

Schnitzler,   Arthur,  52 

Settings,  19,  90 

Seventeen,  160 

Shading,  73 

Shadows,   158,   174,  196 

Shakespeare,   55,    181 

Sharp,  William,  194,  219 

Shaw,  G.   Bernard,   25,  57,   58, 

61,  91,  108,  177,  183 
Shelley,  P.  B.,  187 


Siddons,  Mrs.,  yj. 
Sides,  78 

Sigurjonsson,  187 
Simoon,  57 
Smith,  H.  J.,  61 
Sothern,  E.  H.,   182 
Specimen  programs,  46 
Speech,  80,  203,  206,  216 
Speed,  67 
Spot  light,  159 
Stage  directions,  210 
Stage  equipment,  17 
Stage-manager,  13 
Stardom,  9 
Stella,  182 
Stock  companies,  10 
Stock  pieces  of  scenery,  93 
Stokes,  Rose  Pastor,  55 
Stratford-on-Avon,  141 
Strauss,  R.,   145 
Strindberg,  August,  57,  III 
Strip  lights,   158 
Study,  77 
Sudermann,  116 
Sullivan,  61 
Sumurum,  145,  177 
Supernatural  lighting,  161 
Suppressed  Desires,  73 
Sutro,  Alfred,  57,  92 
Synge,  John   M.,  61,    iii,   148, 
219 

Tagore,  R.,  132 

Tapestries,  96 

Tarkington,  Booth,  182 

TchekofY,   Anton,   56 

Test  of  performance,  220 

The  Angel  Intrudes,  81 

The  Artist,  42,  194 

Theater  Guild  of  New  York,  8, 

31,  37 
The  Aulis  Difficulty,  132 
The  Box  of  Toys,  184 
The  Cassilis  Engagement,  61 
The  Cenci,  187 
The  Cherry  Orchard,  58 
The  Chinese  Lantern,  120,  164 
The  Coffee  House,  60 


INDEX 


257 


The  Comedy  of  Errors,  84,  112 

119,  125,  141 
The    Constant    Lover,    41,    57, 

179 
The  Darlnig  of  the  Gods,  152 
The  Dark  Lady  of  the  Sonnets, 

58 
The  Dear  Departed,  118 
The  Drawback,  47 
The  Dumb  Cake,  58 
The  Far- Away  Princess,  116 
The  Florist  Shop,  56 
The  Fountain,  191 
The  Girl  in  the  Coffin,  8,  57 
The  Glittering  Gate,  34,  36 
The  Gods  of  the  Mountain,  60 
The  Golden  Apple,  61 
The  Harlequinade,  61,  115,  172, 

220 
The  Holiday,  14 
The  Honeymoon,  121 
The  Honorable  Lover,  41,  52, 

179 
The  Idol,  SI 
The     Importance     of     Being 

Earnest,  61 
The  Inspector-General,  43,  181 
Their  Country,  51 
The  Jest,  59,  177 
The  Keepers  of  the  Light,  34 
The  King  and  Queen,  132 
The  Lady  from  the  Sea,  60 
The  Learned  Ladies,  60,  61 
T/i^  Lodger,  44,  66 
T/i^  Lojf  Silk  Hat,  56 
T/se  Lute-Player,  219 
T/^^   Magnanimous   Lover,  42, 

179 
T^^  Maker  of  Dreams,  58 
T/^^  Men  0/  Destiny,  57 
T/t^  Marriage  Will  Not  Take 

Place,  57 
T^^  Maternal  Instinct,  60 
T/t^   Merchant   of    Venice,  87. 

95 
T/;^  Mo&,  189 
The  New  Sin,  189 
The  Passing  of  the  Torch,  60 


The  Pigeon,  60 

T/i^  Playboy  of  the   Western 

World,  61,  III,  143,  148 
The  Point  of  Viezv,  122 
The  Prodigal  Son,  51 
The  Queen's  Enemies,  57 
The  Return   of  Peter  Grimm, 

108 
The  Rising  of  the  Moon,  130 
The  Roadhouse  in  Arden,  55 
The  Ruined  Lady,  58 
The  Shadowy  Waters,  175 
The  Silent  Woman,  184 
The  Sponge   Cure,  49 
The  Still  Alarm,  190 
7"/i(?  Storm,  123 
T/^^  Stranger,  60 
TA^  Stronger,  ill 
T/f^  Tabloid,  159 
T/i<?  Taming  of  the  Shrew,  119 
r/i^  Tempest,  2ig 
The  Tents  of  the  Arabs,  131 
T/;^  Terrible  Meek,  173 
T/i^   Theater  of   the  Soul,  34, 

35,  42,   181,   195 
The  Thunderbolt,  60 
T/i£?  Tragedy  of  Nan,  122 
T/i^  Truth,  60 

T/j?  Warrior's  Husband,  183 
T/ic  World  and  His  Wife,  6l 
T/i^  Yellozv  Jacket,  28 
Thomas,  A.  E.,  61 
Thompson,  Julian,  183 
Toy  Theater,  7 
Trifles,  54 
Try-outs,  75 
Twelfth  Night,  43,  71,  110,  120, 

125,  141,  144,  181,  219 
Typoscript,  19,  26 


Ubermarrionet,   196 

Ulysses,  125 

Union  stage  hands,  17 

Unit  sizes  of  scenery,  105 

United    States    copyright    law, 

University  audiences,  24 


258 


INDEX 


Upward,  Allen,  192 
Urban,  Josef,  218 

Variety,  10,  38,  61,  190 
Vistas,  194 

War,  189 

War  Camp  Community  Serv- 
ice, 2 

Washington  Square  Players, 
30,  37,  SO,  52,  133,  179 

Webster,  Henry  K.,  60 

What  Every  Woman  Knows, 
87. 


Whims,  52,  133 

Why  Marry  f  58 

Wigs,  149 

Wilde,  Oscar,  61,  183 

Williams,  Olin,  57 

Workshops,  8,  63 

Writers  of  one-act  plays,  37 

Yeats,  W.  B.,  175,  193 
You  Never  Can  Tell,  61,  108, 
III 

Zaragiieto,  116 


CAROLINA  FOLK  PLAYS 

Edited  by  Frederick  H.  Koch,  founder  of  The  Dakota  Play- 
makers  and  of  The  Carolina  Playmakers. 

Five  one-act  plays  by  various  authors.  With  illustrations 
from  their  productions.  $1.75 

When  IVitches  Ride—  Peggy-- Dod  Gast  Ye  Both  f— Off  Nag  '5 
Mead  or  The  Bell  Buoy — The  Last  of  the  Lowries. 

Plays  full  of  atmosphere  and  flavor.  Outlaws,  Moon- 
shiners, "revenoors",  witches  and  land-pirates  provide  action 
and  picturesqueness.  Has  Professor  Koch  started  to  do  foK 
America  what  The  Abbey  Players  did  for  Ireland? 

Walter  Pritchard  Eaton  in  The  Drama:  'Koch  is  doing  a 
ivonderful  work.  He  is  teaching  young  people  to  write  their 
own  plays,  about  their  own  people  and  their  lives,  stage  them, 
costume  them,  act  them." 

FRANKLIN— 5y  Constance  U Arcy  Mackay, 

author  of  The  Beau  of  the  Bath,  etc.    A  play  in  four  acts.      $\.  75 

Shows  Franklin  from  his  "Poor  Richard"  days  through 
his  triumph  at  Versailles. 

Boston  Herald:  We  see  Franklin  as  the  wag,  the  dreamer, 
the  lover,  the  scientist,  the  author,  the  diplomat,  the  patriot. 
It  is  a  fascinating  play  to  read. ' ' 

Chicago  News:  "True  to  period.  .  .  .  The  moments  of 
crisis  are  well  managed,  the  characters  convincing  and  the 
humor  delightful." 

PRODUCING    IN    LITTLE  THEATERS 

By  Clarence  Stratton.   With  70  Illustrations.    2nd  Printing.   ;g2.90 

Literary  Review  of  New  York  Post:  "The  most  important 
book  for  the  small  stage  and  one  of  the  most  practical  additions 
to  theatrical  literature." 

PLAY  PRODUCTION  IN  AMERICA 

By  Arthur  Edwin  Krows.     With  many  illustrations.    $'i.  50  net 

Life:      "Everything    that    pertains    to    plays    and  their    pro- 
duction." 

HENRY  HOLT  AND  COMPANY 

19  Weit  44th  Street  Viii  'la  New  York 


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